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.

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.

‘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.

‘CrazyMad, For Me’ is a triumphant whirlwind of pain and self-preservation, which reveals more of itself with every listen.

‘Perfect Picture’ is the pinnacle of today’s hyperpop yet steers away from its once abrasive nature towards a well-rounded, rebooted version: one where all that Hannah is and can be is indeed made picture perfect.

If ‘Carrie & Lowell’ is set to remain as Sufjan Stevens’ best, ‘Javelin’ takes a confident stride back into personal territory and certainly gives 2015 a run for its money.

The most obvious uniting factor between this record and their previous ones, in fact, is their ability to write a whole host of bulletproof choruses, and it’s tricky to imagine coming unstuck from this album any time soon.

Capturing the highs and lows of womanhood via catchy pop, ‘Sorry I’m Late’ may have been a long time coming (see what she did there), but it’s worth the wait.

This is thoughtful, nuanced R&B that demonstrates Jorja’s kaleidoscopic feel for her genre, incorporating everything from neo-soul on the brooding title track, to flirting with dancehall on ‘Feelings’.

His voice is stunning, a far-reaching, emotive vibrato evoking Roy Orbison that keeps the often surface-level nature of his lyrics from reaching full saccharine.