Combining this pandemonium with a more polished finish on the cosmic pop of "Echoes" and trademark falsetto chants of "Venusia," it's safe to say Surfing the Void was worth the wait.

It's predictably brilliant; another display of Dear's dazzling musical imagination.

Kaleide works best when all of its individual fragments twist into vision as one.

Good stuff, but their epics, like 'The Quick Mile', are curiously unengaging. When that track is immediately followed up by the captivating Eno-esque minimalism of 'Waves & Radiation', it's clear that their real talent still lies in crafting eerie electronic vistas.

Further proof that The Arcade Fire may indeed be the best band on the planet.

A magical insight into the development of Rossen's creative genius.

While the pace hardly fluctuates wildly, the constant twists and turns create an emotional collage that's stunning: expect to be left contemplative and euphoric in equal measure.

Sharing the pop soul sensibilities of Squeeze with just a dash of Brendan Benson, there's even a soupçon of harpsichord in there. What's not to like about these small songs with a big heart?

M.I.A. stands alone in her own world of pop firing out her mercurial messages, which are as complex as they are captivating. MAYA is a towering work that makes a mockery of rivals and genres.

Amongst the army of incredible contributors, all unified by melancholic production drawn from the ether of another age, David Lynch's star shimmers brightest.

The Eel Pie Islanders' sees the band mature as songwriters, which should attract the mainstream attention that's so overdue them.

For all its forward thinking, the combination of shoe-gaze and synthy electronica leads the record inevitably back to the 1980s, mirroring the haunting sound that M83 have perfected so well.

Whilst each track delivers exactly what is to be expected from an IAK album it is a little disappointing that there seems to have been no development from the previous outing.

It's all very "nice" but only sporadically truly vital.

Although the album is an exercise in euphoric clubland dreaming, tracks Closer and Everything Is Beautiful remind us there is perhaps a more sincere side to Kylie that is often overlooked.

Acolyte may infuriate dance purists with its naive inflections but for more pop orientated people it's a fun, if somewhat formulaic start to the decade.

Wasted Daylight, a sugary, ambient number, offers a particularly sublime performance from Millan, as does He Dreams He's Awake, of Campbell. However, these two are the fairly obvious highlights in an otherwise misfired effort.

Total Life Forever is a massive leap forward for the band. The music writhes with a renewed ambition, capable of moving from near ambient strains of electronica to propulsive African funk in a drum break.

The good tracks on 'Body Talk' are of such a high quality that it definitely makes it worthwhile to check this album out but you are soon left with a feeling that the subsequent releases in this series will cobble together one amazing album and one really bad one.

It's less immediate than previous material, but nevertheless absorbs the magic of the world, distilling it into ten slices of trembling, impassioned rock 'n' roll.

Shadows returns to the lush, meticulously crafted sound of previous albums.

Again, like their previous work, 'Champ' is a short and sweet affair - but not one to miss or forget.

Over the course of twelve tracks the dual female vocals transport and transcend into beautiful plateaus of heartbreak and hoedowns with a gritty edge unrivalled by their peers.

Lean, mean and as uncompromisingly focused as its maker, this is an album for everyone's collection, and whilst Weller is perhaps not the man he once was, the man he is now is most definitely still a force to be reckoned with.

An ever present Gang of Four musical demeanor, and the untiring pace of Fugazi makes 'The Chaos' quite aptly relentless.

Although the album is full of brilliance, album opener ‘Marina’ stands headstrong above the others in terms of scope and grandeur, a dirty distorted guitar solo coupled with an African style instrumental and tribal chorusing sees ‘Fever’ go from commendable to a masterpiece.

Sleigh Bells' novelty though, lies in a tingling barrage of granular guitar distortion and overdriven, over-compressed girl-pop squall.

Their alt.folk stylings are ideal for unwinding to at the end of a long day as it calms and soothes the senses.