Much is often said about an artist's influences in music reviews, as if the sum of these parts automatically determines the artistic merit of any given release. But the reality that this critical fixation often fails to acknowledge is that very few artists can actually lay claim to being truly original and that no musician is that unaffected by the music going on around them.

This is not supposed to be an excuse for artists not to try and be innovative but sometimes it doesn't pay to be original for original's sake when there are plenty of wonderful music traditions to draw from to create something memorable and unique. After all, music is a social phenomenon: music is (usually) designed to be heard by other people - otherwise, you'd probably just make it all up in your head - and hearing it for the first time is what makes musicians want to do what they do.

So in an oversaturated and amorphous music scene, where it's harder to avoid hearing other people's music, you're better off being unabashed about your influences and rising to challenge of channelling them into creating something very special all on it's own, right? Well that seems to be Jonathan Rado's approach with his debut solo album, Law and Order.

Given he is a member of Foxygen, it should come as no surprise that his debut would also be a scavenger hunt of influences. There's the effortless pop sensibility of bands like the Beatles and the Rolling Stones and the dark shadows of Johnny Cash's sometimes honky swagger ('Hand In Mine'). There are lush Britpop sing-alongs of Oasis and the Verve ('Oh Susanna') and psych funk struts that you would see in the interlude of a classic Bollywood movie ('Dance Your Ego Away'). There are even hints of the zany, somnambulant pop of Ariel Pink ('Pot of Gold'). It's seriously all in here folks and it's as unashamed as it is gloriously all over the place. Most important of all though is that Law and Order is all the better for it because of the way Rado stitches everything together.

Rado forsakes the normal retro-rock revival routes trodden by many before him, opting instead for a much more unsettling trip down psychedelically-coloured brick road. The experience is less akin to the mind-melting bliss of an acid trip or purple haze, and more like the many states of mind you experience on a really difficult night's sleep: delirium, heightened emotional states, momentary bouts of soporific bliss that are quickly curtailed by paranoid anxiety. Tossing and turning all night, your mind flicks through gorgeous dreams that vaporise into distorted nightmares of drowning and back again.

The tenderness of tracks like the impeccable 'Hand In Mine' and 'Faces' are nothing short of radiant, but there's a hint of suffering that reveals itself in their choruses, like a wonderful dream that slowly gives way to the harshness of a cold dead night. Elsewhere, 'All The Lights Went Out In Georgia' makes self-loathing sound far more gorgeous than it has any right to be. All of these beautiful moments are heightened by the surrounding haze, which taken by themselves range from garishly fun garage sleaze of 'I Wood' and the fuzzy glam stomp of 'I Wanna Feel It Now!!!' to the almost unlistenable 'Looking 4a Girl Like U'. This track is the sound of Motown being boiled alive in distortion and hysteria, and it borders on dangerously on self-indulgence. But between 'Hand In Mine' and 'Dance Your Ego Away', the stark contrast proves vital to the resonance of these tracks. You would think that such stark volatility would threaten to derail the journey but the album's sequencing heightens the thrill of the bumpy ride and makes you want to stay on board.

Despite the obvious reference points throughout, Law and Order stands out because of how cleverly Rado channels all of his instincts and influences, unintentional or otherwise. Instead of doing the obvious things with 60s musical motifs, he taps into an emotional vein that many before him haven't: instead of tripped out bliss or chugging riffage, Rado explores a completely introverted, self-inflicted psychedelic experience, one which heightens the emotional extremes and distorts them in a way that only a tired, sleep deprived mind can. The results are much more captivating and emotionally layered than any revivalist act could ever produce. So if the "Rob Fleming-types" can get over themselves long enough to give Law and Order a go, they might find themselves enjoying the music they already love in an entirely new way.