The aural equivalent of falling half drunk into a nightclub, stumbling up to the bar, then discovering that they only sell double espresso. In either its original or remixed form, not a track to take home to your parents.

For some The Birthday Massacre’s second album may be too shiny and sparkly. The title track recognises and exploits this; it grabs handfuls of attitude and euphoria, comes sauntering up to you and screams in your face.

Oh how I hated the vocal gimmick first time round. Then I heard the song properly and fell in love with the bassline, especially when it overlaps the piano.

All of Tina’s songs read like diary entries. Nothing she’s written is as affecting as this song of friendship. The tune is gorgeous.

Yes I know we first heard this in 2006, but this is the song that re-broke Robyn in the UK. Let’s face it, it’s pretty remarkable. Kleerup’s string break still sounds incredible in the context of a pop song, as are Robyn’s lyrics. And that video.

A song of ultimate rejection, rendering a (perhaps unrequited) relationship, into insignificance, even as it staggers on. But within the indifference, there’s desire, care and hope. You can take Hannah’s songs at face value, or recognise them as multi-faceted gems – full of contrary emotions, whose meanings change with almost every listen.

Almost an incidental, starting as it does with slow grinding, muffled drums and a calming pad, piano, vocal combo. But then a key change signals more. Sure enough the track then moves smoothly into epic house.

The key to loving this song is not the imagery or the piano work, or the haunted vocals, but the space inside the song. The breaks between the words, the echoes of alliteration, of stop consonants. Parts of this track make me laugh or smile because of its genius.

I’ve been listening to Kristin’s music for nearly 21 years. This is one of her best. It melds everything she’s done in that time – Throwing Muses, her solo work and 50 Foot Wave – into one explosive song which reflects the various phases of her career and builds on what she did with Learn to Sing Like a Star.

Officially number 109 in A State of Trance’s listeners’ votes for 2007 I kid you not. This pretty and progressive track uses tiny toms to carry its melody, then just when you think that’s it, adds a monumental break, an organ smear and sharp attacking keys to lift it further. Proof that less is more. I’m still hoping for an official release.