First heard by me on Voices of Summer 2005 (Leamoor), this remix of My World is a monster of a vocal trance tune, beautifully progressive with a voice to die for. "You don’t really know me and I don’t recall your name / But I like the way your body moves and I know you feel the same."

Tori’s concert at Hammersmith this year was almost a fantasy setlist. She played Take to the Sky, but it’s the version on the Welcome to Sunny Florida DVD that made it on this list. Whilst the recorded version is just piano, the Florida version is played with her band (bass and percussion) which turns it into something real funky.

Previously only released on the live CD that accompanied To Venus And Back, Cooling is a song that was supposed to be on Songs for Pele, but she refused (according to Tori). She also didn’t want to be on Scarlet’s Walk either, because she preferred to be played live. Up she popped for Hammersmith too. A song that should be known to a wider audience than Tori’s fans.

Apart from the strings and the un-ending mechanical throb of the drums, the lyrics are spellbinding and I’m always moved by them.

She co-wrote and sang on Satoshi Tomiie’s dance anthem Love in Traffic! I didn’t find this out until today. This track has a distinctive 80s feel, a cross between Tubeway Army and Ultravox, with Kelli’s girly yearning vocals.

It still remains a David Bowie rip-off, or perhaps a tribute. But it still makes me fly when that chorus kicks in: hundreds of backing vocals and a weedy synth line hidden at the back. The Dandy Warhols, for all their detractors, know a good tune, and they know how to work it.

The link between The Cardigans two most recent albums, complete with a Rolling Stones riff.

If you love Kelli’s vocals – I certainly do – then this is the track for you. All hippy ‘daisychain dreamers’ hushed vocals with lines such as "I wanna be your groupie, a follower of beauty. I made a T-shirt with your name on it." Blissed-out perfection underlined with the simplest of organ lines, clockwork percussion and finished off with strings.

Not the most obvious Cinerama track. Not particularly their style either. But perhaps that’s what I love about it. Part spoken lyrics with no lead vocals by David Gedge, although clearly written from his viewpoint. Fabulous.

Chan Marshal will probably be my favourite artist of next year (Her seventh album, The Greatest, comes in January 2006) and I’ve yet to really listen to the album that He War comes from, 2003’s You Are Free, nor any of her others. He War is almost pathologically reconstructed from a dozen musical ideas, yet they all combine ultimately into one freaky pop song.