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.

A great DJ with Swiss/Chilean roots surveys what can happen when dance tracks start to listen to themselves.

Like Architecture in Helsinki, Late of the Pier, and Evangelicals, Manchester's Cats in Paris bombard the senses with the same fury as pop-up ads and RSS readers. Glam rock, electro, and twee feature most prominently on the band's palette, usually in that order.

On his madcap third album, Mugiboogie, the former laptop-tronic artist makes a case for an Icelandic pop music defined not by topography or mythology, but rather basic geography-- in that his country's location puts him in a fortuitous position to absorb the influence of American blues, British psych-folk and, when the mood strikes, Scandinavian black metal.