Fast forward to 2011, and third album Looping State Of Mind is a markedly more complex development of his sound.

Yes its weighed down by some empty dancefloor tat, but it's probably the strongest record work Tricky has put out this decade; definitely much more of a comeback than Knowle West Boy was.

For all its archness and sophistication, the music here has a very clean, mainstream sound too.

This is the sound of a talented songwriter doing what she’s very good at doing. This particular palace is festooned with treasures.

At times Pick Me Up Off The Floor feels like a welcoming musical refuge. It’s an intimate, empathising support mechanism of an album, well-placed to respond to the emotional needs of listeners during these turbulent times.

Weller has found an ideal blend of experience and a quest for more that provides for an optimistic album for an English summer.

The album works best listened to in its entirely rather than separating each cut from one another.

Let Me Come Home is a very straight faced record, yet for all of its apparently bleak subject matter; it is an album that revels in the restorative healing power of music and song. It is also beautifully written and performed and deserves to be up there with this year's best.

How they pack so much emotion and feel into so little is nothing short of magical. Their previous bands might have dazzled with sheen and noise, but Until The Hunter impresses with the bare minimum from start to finish.

Better then anyone could have hoped.

Despite her self-confessed lack of confidence when it comes to crossing musical boundaries, Tunstall proves that in the guise of her Tiger Suit she can achieve anything she puts her mind to. For her at least, 2010 is the year of the Tiger.

There’s A Riot Going On takes longer to reveal its treasures, but ends up being an enduring and rewarding listen, their best since 2009’s Popular Songs.

This is an album that need proffer no apologies for its dramatic, overwhelming and salutary take on darkness and light.

Sadness may remain her true love, but when she flirts with other emotions, the effect can still be magical.

Chewed Corners is a perfect comeback. It’s an album full of vivid, reflective, yet inventive electronica that ties together all of Mike Paradinas’ influences.

The album becomes more expansive in scope the further through you listen.

Korn have succeeded in bringing mainstream producers to inject freshness into their songs, without entering into a Faustian bargain and compromising their music.

Whilst the songs can feel painful and direct, there’s also a sense of euphoria and celebration here too, and the overall sense is one of healing and catharsis. This is Frazey Ford’s best album to date but it really feels like she is just getting started.

Chubbed Up is a fairly relentless critique that, were it not for Williamson’s way with words, would be phenomenally depressing. Fortunately, these songs are mostly loaded with an equal share of pinsharp comedic observations and scathing invective.

Processed it may still be, but the emotions this time round feel more human, and, as a result, make a deeper impact.

Admittedly, this is pretty much Bruce does karaoke, but when it’s done this well and with so much obvious love for the source material, it’s irresistible. Volume 2 can’t come quickly enough.

Sometimes the music allows itself to just be childlike and wonderful, such as on the closing moments of final track Sue’s, but for much of Sun Racket, there’s a constant tension that makes these songs worth revisiting over and over again.

Safe In The Hands Of Love is a fascinating synthesis of rock, plunderphonics, bass music and noise from an artist that remains stubbornly undefinable.

Stylistically Avalon Emerson was taking a risk on & The Charm, but with this engaging, surreal, infectious music it pays off massively.

Let It Sway proves that SSLYBY are still a power-pop force to be reckoned with, and that they're nicely outgrowing the offhand irony of their name.

The only caveat with the music of iamamiwhoami is that there is now a lot of R&B influenced electronic pop music around, increasingly from Scandinavia, and it seems to be the 'go to' sound of left of centre pop music in the middle of 2012. The good news for the duo, however, is that their particular take on it puts them right near the front of a crowded field.

Owen and Hobbs could have just rewritten their debut note for note, but instead they have chosen to take us on a journey that many of us know all too well. Here's waiting for the next instalment.

It turns out to be much more than just the sum of its influences. It's evocative when it could just be shamelessly retro.