It’s the most sophisticated project yet from a preternaturally talented vocalist who keeps getting better. Whatever you take away from it, ‘Eternal Sunshine’ definitely isn’t an album you’ll want to wipe from memory.

Not all of these experiments quite come off: the industrial clang of ‘It’s Dark Inside’, on which she drawls, “they don’t teach clit in school / Like do Lit”, veers close to ‘Yeezus’ parody. It’s notable, though, how contemporary her distorted art-punk sounds.

The Lana Del Rey-featuring ‘Alma Mater’ is another prime example of the Bleachers genius, ‘Tiny Moves’’ glistening undercurrent sounds like a sprinkle of magic, and ‘Jesus Is Dead’’s whispered indie rock assessment of New York micro-scenes and life in a band is pure gold. In those moments – a large chunk of this album – any hint of fatigue is blasted away, Antonoff’s presence a welcome one once again.

Where’s My Utopia?’ marks an outlandish yet assertive second chapter for Yard Act, going toe-to-toe with the peculiar world that we find ourselves in.

Obviously this isn’t a ‘Definitely Maybe’ or ‘The Stone Roses’ – no-one could touch those hook-laden masterpieces. As a triumph of style and mood, though, ‘Liam Gallagher John Squire’ is well worthy of their enduring legacies.

This record is the perfect display of how to make grown rap music without soiling a legacy that has taken decades to build. If this evolution continues, Ghetts may finally produce the classic album that has escaped him thus far.

A career-best statement of Shah’s songwriting prowess, where inner struggles are rendered with maturity and relatability, supercharged by a fearless, expansive sonic palette.

‘Loss of Life’ is imbued with just enough sweetness that by the time it reaches its overarching message – “nothing prepares you for loss of life” – it doesn’t just make you want to prepare yourself, it makes you excited to do so.

Crawlers reaffirm their place as one of the young guiding lights in British guitar music.

Witty and sardonic, Lime Garden’s lyrics would feel at home on any great sprechgesang record: “Tried to get surgery to see her how you see,” they sing on the latter. Yet the band’s exuberant sound marks them as their own distinct entity; entirely within their own league.

‘TANGK’ is an adventure into pastures new. Talbot is keen to put arm’s length at the material that exorcises his past traumas and battles with addiction and general frustration at the modern malaise. Now’s a time of appreciation and restraint.

On ‘What Happened To The Beach?’, perfectionism is released to make space to revel in creativity, resulting in a truly joyful effort.

Everything from psych-jazz, electro-funk, soulful house and the occasional rocker gets a look in here. In lesser hands it’s a right old mess, but not in Howard’s.

Fantastic songs that are easy to embrace and return to.

While NewDad might not be as structurally inventive as the power-pop-indebted Hotline TNT or as heavy as the nu-gaze-leaning Fleshwater, they are perhaps more streamlined and together, which counts for plenty. ‘Madra’ is the sound of a band who have reckoned with where they come from and used it to map out where they’re going.

Where previously the comparisons to their Radiohead catalogue could warp expectations, the breadth of the material on offer here suggest that it could, eventually, flip that dynamic right on its head.

It emboldens its listener to feel power in confronting the uncomfortable feelings, and encourages them to absorb every emotion along the journey. It is a shining glimmer of hope in a room full of sorrow, and another string to their ever-growing bow.

We’ve been overdue an election-year statement record from the trio, and ‘Saviors’ gives it a good crack. .... Of course, the record is a good romp too.

Through her boundless ‘Orquídeas’ albums, Uchis blossoms into a fearless pop ambassador at the forefront of breaking down the divide between music in English and Spanish.

He might not be the steeliest careerist, but the lad from the Wirral has clearly thrown everything at this masterful record.

The result is an excellent follow-up to the breakthrough that was ‘Any Human Friend’. Hackman raises the stakes in her music in a way that feels natural; it is conceptually bigger and more creatively mature, while the songcraft makes this transition feel earned.

This is a dynamic album that is reflective of the muddled world we find ourselves in – delivered with a fortifying sense of honesty from an essential emerging band.

McRae is evidently still wrestling with her ambitions. ‘Think Later’, however, contains enough intrigue to suggest that this is the work of an artist finally honing their identity, dancing and sparkling all the way.

‘Pink Friday 2’ feels like a consolidation and refinement of everything Minaj can do – including dropping pop culture references that no other artist would think of.

Despite the odd unfortunate guest, ‘Rockstar’ is as bursting with life and positivity as the woman who made it.

Ultimately, what makes ‘Heaven Knows’ such a compelling debut is its ability to create British wistfulness. The emotions and sounds are familiar enough to pull you in, and peculiar enough to make you stay.

While not teasing her next chapter, in her quest for more, Maidza has crafted a collection of perfectly constructed songs that encapsulate her karmic truth: that living well is the best revenge.

The 2020s have found their pop king and ‘Golden’ more than secures him the throne.