In that time she’s had a baby, thrown the odd single out and had her whole routine replicated, ripped off and repackaged as Ke$ha – a vile anti-Uffie puppet created by a focus group, utterly devoid of any intelligence or charisma. Not that it seemed to bother the Uffmeister much; she’s far too cool and confident to let evil clones ruin her day.

Sure she can be materialistic at times and maybe even overconfident. The whole I don’t even have to try and my life just turns out brilliantly vibe might make some listeners keen to scratch her eyes out. It’s also clear that the four years between the first single and album were not spent perfecting things in the studio. SD&DJ is a very simple record, in places even slapdash – but is that a crime? This is a far more enjoyable listen than an over-thought-out mess of production like Chinese Democracy. What it lacks in complexity it makes up for tenfold in energy. Over-analysis just erodes the fun, who cares why it works – it does – so put away the microscope poindexter and lets jump in the swimming pool with our clothes on!

Granted, many of the singles have been recycled here. But it’s a welcome return, which draws a line in the sand ready for album number two (currently due for release to coincide with the colonisation of Saturn). What she’s brought new to the table measures up impeccably – upbeat daytime TV show-a-like ‘Neuneu’ demonstrates her mastery of the robo-sex-kitten routine perfectly. Her idyllic cover of Siouxsie’s ‘Hong Kong Garden’ pays homage to one of her personal favourites with boundless gusto. Considering the amount of water under the bridge everything gels together surprisingly well.

She’s made this record because she want to, she really doesn’t care whether you give a shit or not. What’s more Rock & Roll than that?