Kerrang!'s 50 Greatest Albums of 2020

What’s perhaps most interesting here ... is when Corey goes totally off script and lets his personality loose.

Lynn Gunn leaves modesty, fear and doubt in her rearview to embrace the freedom of truth on PVRIS’ third album, Use Me.

In the moment that Smashing Pumpkins currently find themselves – three-quarters reunioned, confident, dare one even say comfortable – there’s joy to be heard throughout, as they turn over rocks and see what they can find. And, truly, that’s a very traditional Smashing Pumpkins way of doing things.

Northern lights Cold Years come of age on spirited debut, Paradise.

It’s the shortest release of their career to date, clocking in at just 26 minutes, but it also finds them taking on and dishing out more musical ideas and genres than ever before.

An album that’s not perfect – but those who get it will fall in love with it.

Grown men revisiting their youthful hijinks should be a terrible idea or, to borrow an FNM title, a midlife crisis. Instead, this record is an absolute rager, testament to both the original material and the present-day dedication of its lunatic creators.

Just what 2020 needed – NOTHING’s misery soaked shoegaze, inspired by staring at a photo of a black hole.

Local Honey is evidence that the man himself is able to adjust his songwriting to his circumstances without compromising in its quality.

Napalm Death bring the joys on furiously caustic and creatively explosive 16th album, Throes Of Joy In The Jaws Of Defeatism.

Being so musically and thematically rich, GLUE will be a lot of things to a lot of people, and therefore act as an enduring monument to being young and looking ahead in a world that doesn’t always seem to have, or want, a future.

All Distortions Are Intentional ... is a joyous missive that rises like a rocket, lighting up the sky with fresh and unexpected explosions on each track.

Bristol punks IDLES deliver a state of the world address in sharp, stark, brilliant fashion with Ultra Mono.

This is wicked. It’s banter. It’s everything you want from music that categorically doesn’t ‘do’ sad. It’s just AC/DC being fucking brilliant. As they sang themselves on Rock And Roll Ain’t Noise Pollution, ‘Rock’n’roll ain’t gonna die.’ In the darkest of times, that’s important to know, and even better to hear.

Admirably aiming high when so many seem content to play it safe and follow the footsteps of their peers, this a wonderful rollercoaster of a record that puts Creeper way out on their own.

This is an album to celebrate. There’s life in the old dog yet, and what’s more he’s learned some new tricks, which can only be applauded at this point.

Not only is Tickets To My Downfall a slick sideways hop from what you might be expecting from Machine Gun Kelly, it’s done excellently. It celebrates everything great about pop-punk without feeling cookie-cutter or third division.

It’s their most musically inventive since 1998. And, by virtue of its themes, it is their most gravely needed of their entire career. It is, in short, a triumph.

Overall, Ohms is a transcendental body of work that perfectly amalgamates the beauty and brutality of Deftones' sound – satisfying the tastes of fans both old and new.

One of the most powerful, cathartic, creatively satisfying and bruisingly heavy records of its age.