Ali Shutler
‘The Fear Of Fear’ is a tightly wound record that showcases a band growing in confidence and getting increasingly comfortable with what they are.
It’s a beautifully complex album that defies expectations at every turn while never trying too hard. Poppy has fast become the master of reinvention, but she’s never sounded so sure of herself as she does with ‘Zig’.
Building on everything that’s come before, while amping up the carnage, the energy and the emotion, Wargasm’s debut album is a lesson in excess.
There’s wisdom across the record, but still a fractured sense of unease as ‘ONE MORE TIME…’ sees the band trying to force joy and optimism out of misery. It’s what made the band so relatable the first time around, and it feels viciously important now.
‘Wallsocket’ is an attention-grabbing album that’ll keep you coming back as the intricate world reveals itself.
Yeule couldn’t sound more comfortable as the record bounces between bedroom pop admissions and urgent party-starting ragers.
An album that chases joy at every turn, ‘Sorry I Haven’t Called’ cycles through urgent dance, fiery indie and feel good pop with a resilient sense of euphoria underpinning every joyous moment.
Despite the pressure, the expectations and the hate that have come since, his instant classic debut album is as bold and brilliant as they come.
There’s a fierce air of defiance to ‘Evergreen’, but there’s also a whole lot of peace as Lynn brings together all of PVRIS’ conflicting ideas into one gorgeous record that sets up the future perfectly.
At odds with the brash chaos of the genre at large, Glaive's debut album slows things down and offers a more rounded viewpoint.
Following the death of drummer Taylor Hawkins and the frontman's mother, their eleventh album is a suitably pensive toast to rock’s restorative powers.
Despite being titled ‘Why Would I Watch’, Hot Mully have an album that demands attention.
Even the nostalgic final third of the album manages to feel fresh, as Skrillex celebrates his legacy but refuses to be defined by it. Quest for Fire is still visceral EDM designed to get the pulse racing, but the whole thing has been given an ambitious refresh. The second coming of Skrillex starts here.
Doors are left wide open for subsequent reinventions but for now, the five-piece are comfortable sticking close-by what they know.
Måneskin don’t waste any time trying to claim the throne on ‘Rush!’ – they already know it’s theirs.
Shiny arena pop is out and classic rock is in for the quintessential band of the Myspace era. The result is weird, nostalgic and hugely refreshing.
A less self-assured band might return with something more direct and instant in an attempt to reclaim their throne but The 1975 have never been interested in past glories.
The London duo's alt-rock tracks about inequality will speak to a wider audience than their previous album did, but they also never soften their edges.
‘Love Sux’ is a progressive pop-punk album that eschews the old rules – but not at the expense of maximalist, joyful guitar anthems.
Minus founding member Matthew Tavares, the now-trio eschew the hookiness of old in favour of considered jam sessions that only occasionally soar.
Canadian follows up her angsty debut EP with a confident, maturing collection.
Consistently brilliant, ‘Side B’ might be a collection of offcuts but this is the sort of record that most acts could only dream of making.
‘I Disagree’ is her most accomplished record, full of daring theatre and snarling forward motion.
A spiritual follow up to 2003’s ‘Untitled’, ‘Nine’ sees the trio as confident adventurers. Dealing with the ideas of despair, loneliness and longing, the record doesn’t shy away from the shadows but you’re never far from a dash of hope ... ‘Nine’ sees Blink back at their very best.