The sheer enveloping bliss elicited by hearing the album in one sitting (especially in public – 'Faking The Books' is a headphone masterpiece and no mistake) leaves one wishing it were a whole lot longer than its taut 40-minute duration.

A geek's wet dream.

A collection of skewed pop classics that draw as much on the contemporary R&B of Timbaland as they echo the darker side of New Order.

This is music that relies entirely on feeling, and while not for everyone it is music at its most impulsively, spontaneously creative.

This could be one of the most important records of the year.

It may surprise you, but 'One Way Ticket To Hell... And Back' doesn't suck... at all.

A showcase of complementary flavours that burst out of the electronica ghetto.

Everything sounds more accomplished, more intentional than previous efforts. Most important of all, though, 'Drukqs' is an unpredictable (yet compelling) listen.

Unassuming, unpretentious and totally listenable too, this is thirteen songs and fifty minutes that might just make her famous.

However, if 'Devin Dazzle And The Neon Fever' proves anything, it proves that Felix knows three years have passed since [Kittenz]. Now he's partying like it's 1984. It's a development of almost comical chutzpah, and it's one that he wears terrifically well.

A decade after he first set an impossibly hard act to follow, Jarvis Cocker has returned with an album that knocks not only his ageing contemporaries, but many of his descendents, for six.

Few artists can master the trick of capturing ambience and atmosphere without resorting to cliche. M83 are among the few.

The Fall are the best new band in Britain.

So few men have managed to touch our scabrous hearts in such a way. Cohen, Bukowski, Barrymore, Hulk, Waterman... Middleton, Moffat.

Yes, it's a shamelessly arch and overarching achievement, and, make no mistake, some of you out there will hate this record and want to have at it with badly corroded screwdrivers.

'Capture / Release' is an album that sounds very much like now, but it should way transcend it too.

Quite unlike any other chill out album you're likely to hear, 'Melody AM' takes low rider funk and splices it with 80s synth-pop ambience and analogue dub techniques to create a truly inspiring epic pop landscape which neither strays into questionable light classical territories, nor worrying prog rock terrain.

'I Com' delivers on all the promise that preceded it and makes quantum leaps of brilliance every time it's played.

Fearsomely post-post-punk, appealingly brazen, and ambitiously tight, they have indeed made The Album That Saved Indie.

This is a record that will so quickly get under your skin and fill your head with such a bounty of melodies that the only way to relieve the swelling is to joyously whistle them out.

What blessed bastardry is this? It's bloody brilliant, that's what it is.

Yes, it's the relentless energy, humour and versatility which makes this record stand out and apparently their albums are merely incidental compared to their stunning live shows.

Your new favourite record.

Anyone expecting any of the more experimental tangential qualities of the German group will be disappointed, as will anyone expecting intense lyrical workouts from Smith. Instead we have an extremely convincing whistlestop tour round current electronic music with a partially deranged, completely eccentric lexicographer raving brilliantly over the top.

The signature wordplay and musical ingenuity are as strong as ever here... but they're rolling with a far harder edge than you remember.

'Wind In The Wires' is a magnificent record full of the language, imagery and sound of travel.

Ejstes... has an innate sense of melody, rhythm and the skill to play some pretty natty fat bass splurges, and psychedelic, peripatetic spider-like drum rolls.

Put 'Peeping Tom' on the stereo and it's as slickly dark and eminently devourable as Hip-Hop with R&B overtones can be, though whack it on the headphones and you're introduced to something infinitely superior.