While DOOM’s flow on studio albums is sometimes lauded for its laid-back quality, there is an intensity to his delivery here. It’s the difference between a supervillain calmly telling you his plan and then actually executing it.

Amnesiac sits at the midpoint of an illustrious career, and the 20-year mark is as good a time as any for a PSA that will enrage Radiohead’s legions of superfans: it’s just a bunch of B-sides. And it’s all the better for it.

While not quite at its peak from this phase, this version of the Fall more than holds its own.

On his sixth album — though only his second under the MF Doom moniker — the metal faced villain MF Doom dialed in his abilities as a rapper and a producer for a fascinatingly idiosyncratic meditation on food that’s as charming as it is dense.

For one near-perfect album, Tom Waits set himself up to be a songwriter of note; no gimmicks, just great songs.

Not many bands could put a hammer and sickle on their album cover and earn it – but Henry Cow did.

The Liverpudlian’s best reunion disc, it’s still less urgent and more uneven than the band at their peak.

The pivot point of serenity and tension is where Annie Clark lives for most of Marry Me.

Of the many names that Daniel Dumile made music under, Viktor Vaughn was his least developed, and VV:2 was almost certainly — ahem — doomed to be regarded as one of his most inessential albums.

Cobbled together from singles across a handful of British indie labels, Suburban Light feels timeless. Whenever and wherever you listen to this record, you’re transported to Alasdair MacLean’s misty vision of London.