Everything is ordered, nothing is left to chance, and with a clear path of progression. For the chilly yet soothing soundworld it conjures, it is endlessly replayable. Medicine never tasted this good.

Music For Psychedelic Therapy is a real accomplishment, otherwordly escapism that’s irresistible for the mind, body and soul.

It’s an album that may not crack the Top 10, but to those who succumb to it’s beguiling atmosphere, this is a record that will live with you for some time to come.

Love them or loathe them, it is hard to ignore the brash confidence with which the band take another giant stride towards stadium dominance.

Perhaps National Ransom is less a randomly selected almanac, and more a series of vignettes that could potentially have relevance to any particular time and space. Costello is, inventively, trying to make musical antiquarianism a radical pursuit.

Prisoner is an album that must have been tough for Adams to write and record, but ends up sounding like one of the great break-up albums of recent times.

It is a well constructed, fulfilling work in its own right but what remains most impressive is how, despite never quite crossing over to major popularity, Teenage Fanclub are still able to exist in these challenging times.

It's a bold, inventive record that bristles with energy and passion.

There are moments of beauty here that others will struggle to touch this year.

It is a very human experience, and if you can work past the occasional awkwardness of the vocal by spending more time with it then listening treasures await.

In his second album, The Wild Hunt, Matsson has made a stunningly genuine folk record that compares favourably to staples of the genre dating back to Bob Dylan's The Times They Are A-Changin'.

It’s not the sort of album you can ever relax while listening to, as you’re not entirely sure what’s coming next at any given point. It’s an album full of invention and creativity that never rests on its laurels – maybe not one for everybody, but those who delve into Shook will find so much to explore.

Not once does a song sound ripped off or unoriginal. What Hot Chip have done is to create a new landscape of electronica.

The Moon Rang Like A Bell is a triple-jump forwards for Hundred Waters.

Collins has created a work full of effortless songs that meld '60s pop, new wave cool and classic tunes that are uplifting and surprisingly catchy.

Yet another indication that Ty is going from strength to strength.

Clark takes creating this soundtrack to monumental forms, letting the components get weathered and scarred through his manipulation to create a landscape of history, emotion and musical depth.

Overall Dear Annie is pleasant, with other highlights including Mon Amour, Pink Lemonade (mostly for its gorgeously woozy production) and Egyptian Luvr, but it could have benefitted from losing some filler and gaining just a little more dynamism from Rejjie himself.

On Head Of Roses Wasner still manages to deliver an album that feels both highly individual and effective in what it tries to do. It also subtly extends the sense of musical reinvention which has been ongoing since the direction-pivoting Shriek.

This is a fine album and certainly Feist's best yet.

There’s neither swag nor swagger here, just talent and a single-minded creative vision worth every gasping breath it takes to keep up with.

Plum does little to rock an established boat. Going forward, consistency is the key Widowspeak must aim for, because if you took their top moments from across all five albums then you would have an absolute classic on your hands. Plum needed a larger smattering of their best capabilities to warrant repeated listens.

Compared variously to The Flaming Lips and Grandaddy, Midlake's take on '70s soft rock is actually better than both.

This is music that has gloriously outgrown its unfamiliar origins and deserves to be embraced wholeheartedly.

On the whole this is a significant artistic leap, a progressive album of dazzling stylistic pluralities that demands attention.

A dense, intelligent and rewarding album.

Black Hole Superette also has some surprisingly pretty instrumentation, such as the shimmering synth leads that open Checkers and the descending chord sequence of Black Plums, subtly embellished by harmonies as the track progresses. It’s elements like this, along with Aesop’s wordplay, which make a lengthy album consistently engaging.

Add in the highly personal genesis of its composition, easily audible in both lyrics and melodies, and the listener's satisfaction is complete.