Cure-y closer ‘24 Hours’ underlines the fact that Heartworms are one to keep a trained eye on, its rumbling outro an omen not for an oncoming rapture so much as the arrival of a Seriously Fucking Cool new artist with vision and formidable talent to her name.

For a project that could have held unreasonable expectations, it overdelivers time and time again. Both parts of the duo are on their A-game in equal parts.

‘Good Luck’ is undoubtedly at its best when Debby is going full-pelt to evoke those early-noughties electroclash moods, but there’s barely a misplaced beat throughout.

An album that exudes charm and euphoria, while still very much being Fall Out Boy’s DNA, ‘So Much (For) Stardust’ is a real joy.

The electronic beat of ‘METALIZM’, with its winding guitars and chanting vocals echoing their melody verbatim, comes over a little too recent-era Muse than anyone needs. But what, on the surface, is mostly a fun, noisy collection does also offer an infinite rabbit hole to dive down.

As a listen, it doesn’t always completely land, but when it does it’s truly exciting. As an artist, ‘Did You Know That There’s A Tunnel Under Ocean Blvd’ shows Lana Del Rey pushing herself perhaps more than ever.

On ‘A Fistful of Peaches’ Black Honey have doubled down on what’s worked for them to date, while offering a glimpse at potential future directions.

Yves has carved out their own, trailblazing sound amid the racket of modernity and it truly feels like an awakening. Trapped somewhere between visceral punk, Oneohtrix Point Never and Dean Blunt, ‘Praise A Lord…’ is in fact like no other.

While ‘V’ has the tendency to revisit some familiar ground, it achieves what the best double albums do - plants solid gems along the road, envelops the listener with clever sequencing tricks and builds a whole world to roam.

‘10,000 gecs’ is a thrilling ride from start to finish, catapulting through genres across 10 unrelenting and imaginative bangers.

Like many other soundtracks, ‘Fantasy’ creates a mood - nostalgic; euphoric - and there’s a clear thread throughout that ties these thirteen tracks together. But soundtracks are also often intended to feature in the background, and ultimately ‘Fantasy’ too easily fades into it.

Eighth studio album ‘Endless Summer Vacation’ emerges as a clear indication of someone who’s finally figured out who they are, resulting in a bold pop record oozing with the confidence and style that results from a period of self-discovery.

‘Past // Present // Future’ does what it says on the tin in a masterful way, melding the influences of the past into something that sounds shiny and modern, and achieving the rare feat of making pop punk still sound distinctive.

They aren’t going to be for everyone - and this might not be a record that converts new fans in their droves - but pre-existing fans should be happy.

On ‘Radical Romantics’, Fever Ray posits the idea of love as an imperative condition for human function, and probes into both its darkest corners as well as the simple, mortal desire for affection, producing a fascinating study of electro-pop in the meantime.

Expectations [are] built by her collaborators - who aided artists like Dua and Kylie in carving revered pop niches - weigh detrimentally on the record: it doesn’t push itself nearly as far. Yet, undeniably, it’s a dependable, invigorating debut.

slowthai’s newest is the work of an artist clearly more excited than ever about what he himself can do now he’s booted his own doors wide open. ‘UGLY’ is a beautiful thing to behold.

Ultimately, Kali’s intention to create a timeless album about love is met with expected ease.

The maximalist production on show is boundless, and in turn, is a celebration of daine’s spiritual transformation.

Agut-wrenching yet joyous journey into the thick of her every feeling, with neither sugar-coating or shame. It’s a walk on a tightrope, balanced precariously between a downward spiralling cascade of thought.

The richness of its sounds is what makes ‘Strange Dance’ a warmly familiar, if not entirely compelling listen.

‘Food For Worms’ bulges with high-octane surprise. This is the sound of a band performing at the peak of their powers.

‘Cracker Island’ is very much a set piece that prioritises concept and narrative, resulting in one of Gorillaz’s most restrained, contemplative releases yet - one that will perhaps appeal to fans of Albarn’s solo work more than devotees of his monkeys’ more genre-hopping forays.

Like a pop phoenix rising from 2011’s ashes, ‘Let Her Burn’ is Rebecca Black showing us just what she’s capable of.

A mish-mash of sounds, picked up magpie-style to create something which consistently skirts the line between warm and distant, familiar and disconcerting, hypnotic and, well, irritating.

It’s eerie, it’s weird, and maybe a tad too long (it could still perhaps work as a three-minute interlude or similar) but regardless, it still somehow manages to feel like Pigs x7 while offering a welcome change. By its last quarter, ‘Land of Sleeper’ feels like it’s said all it can.

It’s all washed over with a layer of fuzz, the distorted sound making it impossible to discern precisely what’s going on - which is, one would imagine, precisely the point.

It embraces the unconventional with resounding ease, finding its voice in the skilled hands of two of pop’s most forward-thinking pioneers, both busy rethinking just what it can be.