This is a record for the late night after a later one; the cauterised throat, the yellow of the reading lamp, and the restless shifts in twisted sheets.

There's little here that you won't have heard countless times before but as a pretension-free house album, 'Muzikizum' is an accomplished, pumping affair.

They’re perhaps a tad unoriginal - a hint of Felix here, a spot of 'Positive Education' there, a sniff of classic Sabres Of Paradise and some 'Stakker Humanoid' round the corner ­ but hey, what’s wrong with nostalgia? Especially when it gets your hands in the air like you just don’t care.

'Everything Is' is as frenzied as music gets, full of the energy that only comes with youthfulness, but also tinged with a world weariness that comes with being part of a hugely disaffected and cynical generation.

While this album is hardly a sellout or a mellowing down, its shifting in direction, its differing textures make it far better than 'Iowa'.

I defy anyone not to seep happiness through the pores of their skin once in possession of this record.

Sonically, there's no radical steps forward here, but then standing still for Kristin Hersh is pretty much the equivalent of most people's sprinting: we could do with a few more of her.

This is a smart LP. From the opening chunder of 'One Note', a mean bass riff and some grade A wittering, their throb is pure and their thrum sweet.

'Multiply' sees the flavours of Al Green, Curtis Mayfield, Prince and Sly Stone twisted into 2005 with subtly inventive touches and modern production suss.

'The Datsuns' is an album that could have been made in 1967, 1977 or 1987, but which, fortunately for them, was made in 2002.

It sounds oh-so-fashionable, but it isn't simply an instance of über-credible semi-celeb DJ/producer wanking all over his decks and a handful of records no one ever heard of; every single track is not only quality, but accessible.

When 'Arular' works - a good three-quarters of the time - it's unmissable.

It's a move on from 'Here Be Monsters', musically if not lyrically, and, for all his world-weary posturing, he's still only 25 for God's sake, though obviously in love with the idea of being a great singer songwriter.

'...Broken Seas', though understated and pretty, tingles with furtive sexual chemistry.

'Young Machetes' is both a magnificent and important album.

This is a Warp-inspired wonderland of intricate glitches, murmuring glacial low-end smoothness, and subtle, filmic orchestration.

This is probably the most adventurous musical journey of Garnier's life.

So yeah, he's moved on a little but no, he hasn't gone soft on our perilously-leaping arses, and his personal holy trinity still seems to be the deeply unfashionable but unironically ace Van Halen, Meat Loaf and Billy Idol.

This is a long soft sigh of an album, suggesting not a sudden relief of pressure but just a pleasant exclamation of contentment.

Quite simply, there are thirteen absolutely cracking tunes here.

A shining example of just how broad and brilliant electronic music can still be in the right hands.

'The Runaway Found' may have sounded great in 1996, but it also sounds great now, and by our reckoning it always will.

Challenging, ingenious, electronic surrealism for the brain and ears.

It's in the vein of 'Debut' in terms of songwriting but there are a lot more samples of foghorns on this record.

One of those classy records that will sound good forever, no matter what you do with it.

An assortment of evocative instrumental journeys that warm the cockles.

An absolute triumph from one of the most consistently forward looking hip hop bands in the world today.

A confident, rampant holler that bristles with the energies of prime new wave, the proselytising vigour of the most barnstorming white soul, and the wry, cerebral kickback of most of the artier artists of the last thirty years.