Suicide Songs sees the trio perfect what they started to build on their debut.

Never Exhale is not for the faint of heart, and as its name suggests, is often a breathlessly intense, punishing listen, one filled with audible dynamism, sonic interest and gnarled heaviness.

Virginia Wing’s gift is the ability to get these elements [musique concrète to squelchy deconstructed techno, refracted pop hooks and seismic drone] to sit so comfortably alongside each other, within one immersive sonic world.

Fir Wave should represent a clash of styles – between Peel’s 21st-century toolkit and Derbyshire’s early-70s equivalent – but instead, there’s a deep sense that the two women, generations apart, are in tandem.

Blackstar is an absorbing (if consciously arty and perhaps a shade self-indulgent) listen.

His [guitarist Stephen Carpenter's] fleeting interplay with Jerry Cantrell's sprawling guest solo reaches past minor curiosity to become an essential encounter on a record with countless unfurling highlights.

Despite the gentle forays into new styles, the universally relatable stories are still well and present, with enough morbid humour, intricately drawn character studies and down-to-earth wisdom to keep you coming back again and again.

Monument Builders is an augmented reality to spend time with, explore and get lost in.

Is Clouds In the Sky... better than Waterslide...? They both reward repeated listens so time will tell. Does it matter? No. Fans will love it, and new listeners, who fall in love on the strength of this album, have a stellar back catalogue to devour.

Seeking Thrills is an album that delivers on its initial promise, proving that the upward trajectory Georgia currently finds herself on can only continue.

The results are a timeless, genre-smashing work with a psychedelic soul.

A poignant but punchy triumph then, perfectly timed for mid-winter maladies.

You'll be happy to hear that Xtreme Now, the Brooklyn duo Princa Rama’s latest record, is just as joyously naff as any judgey pre-judger could expect.

Pink Noise is a John Hughes soundtrack just waiting for its film to be written and it’s a bold return from an artist with a point to prove.

These are sprawling works with clear focus.

Bleeds is an alt-rock urtext for Wednesday, both an entry point and a summation of their gifts: mixing the atonal with the blissful (Wound Up Here (By Holdin On)), bizarro choogle (Phish Pepsi), void-splitting hardcore (Wasp) and Low-esque slowcore (Carolina Murder Suicide).

Brick Body Kids Still Daydream offers everything you’d expect from an Open Mike Eagle album and rivals Dark Comedy for the best in his catalogue. But it’s also his most thematically coherent work yet.

Pleasingly, it’s all done with New Order/Pet Shop Boys-esque synths and beats. Dancing with tears in your eyes is still dancing.

This uncompromising obscurity will turn off some, and understandably so. Beneath that, the band are writing songs that make floating into oblivion sound appealing.

Despite being the biggest shift in her sound so far, Khan's silken touch is such that Delphi feels like a congruous and joyful addition to her oeuvre, proof of her claim that motherhood helped her tap into a previously unknown well of creativity.

Protomartyr galvanize themselves into a more driving and forceful mode on the likes of Don’t Go To Anacita and Male Plague, wherein lie some of Relatives in Descent's strongest hooks, and ultimately it’s the strength and clarity of the ideas put down that could make this their best record yet.

Whether shouting over martial drums, whispering behind thick, smoky synths or rapping against a razorwire guitar, URGH is an exercise in harrowing noise; unapologetically visceral and all the better for it.

It's a continuation of their bombastic instrumental rock, adding enough new experiments to keep things interesting, but staying close enough to their well-hewn sound to ensure a cosy familiarity.

The Window is indicative of a newfound assuredness for a band which itself has stretched from a two-piece to a full foursome.

Sick Scenes sees LC! offering up a liberating set of songs about odious city hipsters, youthful nostalgia and future anxiety, wrapped up in the seven-piece’s usual glorious flurry of chipper riffs and witty lyricisms.

If the range of CHAI's capabilities was ever in doubt, this album is the answer, offering unexpected turns and new ideas, incorporating them into their kaleidoscopic swirl of noise with aplomb.

It’s Robinson’s most intimate album yet.

Portrait of My Heart channels and exudes a wild assortment of sonic influences – an approach which results in the most honest and entrancing SPELLLING record to date.art