‘Friend of a Friend’ is an oasis of normality on this album, providing a piano ballad that could easily be a Neil Young deep cut, but for the most part this album is exactly what a side project should be – all the ideas too weird to fit anywhere else.

For the most part, it’s instead a case of either too much, or not enough. By stripping the layers back and presenting the songs in a wholly straightforward manner - slick, with Julie’s voice centered as if she’s embarking on a perfect three-minute pop song - flaws appear where they shouldn’t exist.

Not just a return to form from a group whose recent catalogue has been somewhat patchy, but a true classic, ‘Saviors’ is Green Day at their musical and thematic best.

With seemingly none of that badass-ery from their classic late-’90s output diluted by the passage of time, ‘Little Rope’ sloshes up nothing less than a condensed, rocket-punch collection of ten three-minute bangers.

This isn’t necessarily one to win The Vaccines a new generation, but for those already won over, it’ll prove worth the listen.

It’s a truly cathartic listening experience, driven by the belief that our darkest moments can only be alleviated if we sing about them beautifully enough.

Perhaps her most personal, but also her most diverse.

It’s musical exorcism at its very best, rallying against socially-imposed doubt and anxiety and - in its unique horror - finding welcome moments of inner peace.

‘Heaven knows’ pushes PinkPantheress into new realms of utter brilliance.

No, ‘Think Later’ doesn’t come close to reinventing the wheel (or pop), but it does drench itself within a pop maximalism full of fuel, energy and modernity.

The songs are rarely improved upon, with the fidelity to ruggedness giving the songs the feel of half-finished demos, but the songwriting itself is, of course, stellar.

Their formula is tastefully broken up by frantic drums on ‘CRACK METAL’, unsettling synths on ‘HATEFUL’ and the twisted pop of ‘ASHAMED’ that soars with the most memorable chorus on the record. Unfortunately, that chorus is an outlier on an album that can wash past with as much staying power as candyfloss in a puddle.

Bella may not have enjoyed bringing ‘Quarter Life Crisis’ to life, but in facing her insecurities head on she chips away at the pristine Baby Queen polish and pairs her distinct brand of pop with real substance.

Sure, if you’re after something revolutionary, this one’s not for you; but ‘ONE MORE TIME…’ instead succeeds in its mission to reinvigorate the trio’s alchemy, and gives the band a much-needed chance to reflect and celebrate for at least one more time.

While there’s a constant sense of fun, there’s also always a consciousness about who, or what the Rolling Stones are.

’History Books’ is an album that personifies The Gaslight Anthem’s magic all over again.

Weak and boring are never words we’d have ever thought apply to Poppy’s music, but alas here we are – hoping for the ‘Zag’ to come.

‘The Silver Cord’ is often magnificent and always supremely fun.

All those who lapped up ‘Tracey Denim’ will be satisfied here. ‘The Twits’ may yet charm a few more besides.

Amid an existing height of musical Afrofuturism, ‘Sweet Justice’ is a crowning achievement - an assertion of self through distinct and precise perspective at the apex of a movement.

Sounding like their most ambitious and handsome release yet.

Most importantly, though, ‘Santhosam’ lives up to its name, as a record that reflects happiness.

‘Turn The World On’ is classic, sparkling Bombay, whereas ‘Rural Radio Predicts The Future’’s two-minute instrumental concludes with almost hyperpop bleeps; the Albarn-featuring ‘Heaven’ is loose and trip-hoppy, while highlight ‘Meditate’ (with Nilüfer Yanya) climbs the guitar scales into a twisted climax. A triumph.

Sampha’s voice might be the most instantly recognizable piece of magic in his arsenal, but it’s his patience and craft that makes ‘LAHAI’ such a stunning experience.

More so than some of his other recent material, the record has a sense of drama and occasion to it, as well as being the most musically seamless album he’s made in nearly twenty years, since 2004’s ‘A Grand Don’t Come for Free’.

These bold theatrics more than work, and maybe more so than ever, they present Creeper with a clear track to bringing camp, dramatic rock back to the very top of the pile.

It’s as fun and messy as it is timelessly trendy; as silly as it is erotic.

At once escapist and heavily personal, it’s a dark, pop-perfect, melancholic fantasy.