Decidedly mature yet still with that same self-aware playfulness, this is undoubtedly his most eclectic offering to date.

Sonically sprawling (‘80s guitar sounds are referenced on the title track; a glitchy beat flickers through ‘Another Day’; ‘Power To Undo’ brims with pop-funk chaos) yet also unafraid to find joy in simple pleasures (the most immediate moment comes courtesy of ‘Prove It To You’, a club-ready stomp), ‘WHAT NOW’ is a gem.

‘The Pilgrim, Their God and the King of My Decrepit Mountain’ is an escapist dream, and immersive story.

Fans will hear echoes of his best work, but for most this is a stale, uninspired outing for the legendary figure.

An album that dreams not just big but huge. It begins with a literal orchestral overture - 96 seconds of world-building that removes you from boring old reality and plants you into their version of Fantasia. Then, 11 tracks of similarly sky-high, grandiose ambition, that tie together lofty literary sentiment, cinematic sweeping theatricality and killer melodic indie hooks with an equal affinity for each.

‘Dark Rainbow’ sounds like many of the best bits of each of their previous records. From rousing opener ‘Honey’ to the soft ballad closer of ‘A Dark Rainbow’, there’s a familiarity without ever feeling rehashed; that is to say existing fans will be pleased, while any new ears this falls on should want to hear more.

While there may be signs of holding back, ‘People Who Aren’t There Anymore’ still carries more than its fair share of upbeat anthems. This album isn’t much different, but why the band would ever change is a question that doesn’t need asking.

‘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.