Could It Be Different? carries on exactly where they left off. In their songwriting, The Spook School have always merged transformational politics with an anthemic quality, and the LP's opener is no exception.

This is a tight, focused, powerful effort by one of the most underrated bands in the world – and certainly one of the finest bands to come from these shores in the past twenty years. Night Network is a minor masterpiece.

This is a riveting, first-rate record from a man who has made quite a few of them.

On It Is What It Is, Stephen Bruner’s eccentric hyperactivity is on full display, bouncing from jittery bass chops to fat West Coast funk. He balances the spacey jazz fusion of his early records with the signature neo-yacht rock perfected on Drunk (2017).

So, it seems that band that once loved us all like madmen have mellowed and become more self-assured with age. But they've definitely not lost their spark.

In other words, Cortar Todo is yet another outstanding release from one of the most original musical acts today.

Put simply, Alternative Light Source manages to sound both fresh and exciting, and like old Leftfield all at once.

Gum Country’s fun is earned. They take a face-value look at life, and conclude that even when it’s hard, it doesn’t need to be heavy.

In Hug Of Thunder, Broken Social Scene have managed to master the balance between spiky energy, tender melody and a singular knack for carving out a soaring chorus. Hug Of Thunder has undoubtedly been a long time coming, but it has unequivocally been worth the wait.

L.A. Witch has managed to capture lightning in a bottle with enough space for you to stand back and observe without getting singed.

Idle No More is inspiring on many levels, but mostly because it beckons us to dance passionately and live fully in the wake of ever present darkness.

It’s the product of a band that’s clearly thinking on their feet, engaging with the conflicting styles of those around them and assimilating new behaviors without sacrificing their own, changing with the world around them to create something refreshingly distinct and beautifully engaging.

Thresholder is a triumph of meticulously detailed composition and, at the same time, a masterpiece that seems to evolve, albeit in an unnaturally sepulchral soundworld of fragmentation, from the simplest of sources into a life-affirming wholeness.

The collaboration between the film and the music is so successful, in fact, that it is hard to describe the music without noting the scenes.

Dogrel is evocative, meticulous and rich in a love for the character of Dublin, and all the little things that, past and present, contribute to that.

Their second album continues the work of the first, a yardstick for the heavy guitar sound, and is in its own way as hard hitting, visceral and effortlessly brilliant.

With their debut they have, for the most part, broken metaphysical barriers between techno, noise and punk, and presented a record beaming with youthful exuberance, and containing a frightening level of intensity. The presented fruits of their labour, inspired by Kiely’s breakdown, are resounding.

This is immediate, incredible folk pop that pays homage to the godfathers, performed amid the disco balls of a train hurtling through time, by kids who love alternative guitar bands.

Much like a Full English and a strong cup of tea, Luke Temple wipes away the hangover from what you might otherwise call pop’s misguided choices (including the bubble perm and Kylie-and-Jason collabs), leaving only the happy memories of dancing to ’80s classics like it’s 1999.

All Hail Bright Futures sees And So I Watch You From Afar fulfilling the promise that both their debut and follow up teased.

Modern life might still be rubbish, but it is rarely shown to be so beguilingly beautiful.

Sparkle Hard continues this unfeasibly strong run he’s been on and adds a little more bang for your buck.

In other words, they haven’t lost a step as a band.

Post punk of course is a genre totally played out, but VENN’s approach is a new perspective on the genre. Runes is fresh, wildly innovative, and utterly essential.

A tippy, interstellar journey all the more worthwhile taking.

For All My Sisters is a thoroughly enjoyable record even if taken only at face value, but more importantly, it’s a potent reminder of just how crucial The Cribs really are.

It will take you places. Places that don’t feel like they exist in our dimension, on our plain. This all just feels so brilliantly different and new; a very special debut indeed.

It might not hit Dumb Flesh’s dancefloor highs but with decent headphones and a windswept night there’s points on here that are damn near-transcendental, although the damage left might be permanent.