Pitchfork

Sharing passing similarities with two of modern indie hip-hop's top producers, Madlib and the late J Dilla, Flying Lotus has constructed an album of static, texture, and rhythm that, at its most stirring moments, can be soothingly meditative, an accomplished blend of debris and warmth, b-boy head-nod and laptopper experimentalism. If Prefuse hadn't fallen off after One Word Extinguisher and continued to push the envelope with each record since, he might sound close to this in 2008.

The latest from Norwegian electronic producer Hans-Peter Lindstrøm finds the missing link between the modern classical works of Steve Reich and Tangerine Dream's cheesy grandeur, resulting in a fist-pumping, hyper-cosmic space-disco epic that conjures both the retro-futurism of Logan's Run and Manuel Göttsching's influential 1981 electro-prog mammoth  E2-E4. Stretching three tracks over 55 minutes and wandering well away from the dancefloor at times, Where You Go I Go Too has the hallmarks of a masterpiece from a reclusive auteur.

After the slight misstep of 2006's A Hundred Miles Off, the Walkmen enjoy a return to form on a consistently wonderful record marked by, for these guys anyway, relatively direct lyrics and simple pleasures.

Another manifestation of the way London has transformed the sounds of Jamaica to its own ends-- from 2-Tone to jungle to dubstep-- the Bug's London Zoo offers high-energy anger and ferocity, as opposed to outright bleakness, as he streamlines his sound, shaving away the distortion and letting most of the impact come from the rhythm itself. This makes Burial sound like Music for Airports.