April 25, 2013 – Last we heard from Oakland's Glenn Jackson, he was whipping up billowing analog house jams for Brooklyn's Ceremony Recordings — a sunset-cruise soundtrack with just the right amount of East Bay (or East River) grit. Now the transatlantic Cascine label brings Jackson on board to remix Michigan's RxGibbs, whose debut album strikes a similar balance between shoegazing and stargazing, earthy and ethereal. (Cocteau Twins' Simon Raymond liked it so much, he deemed RxGibbs one of his favorite artists of 2012.)Lush and crisp in equal measure, Glenn Jackson's "Macro" remix loops back to a style we haven't heard for a while: the colorful, melodic techno popularized by labels like Traum and Kompakt way back in the early 2000s — in particular, the pneumatic sound of the Bay Area's Broker/Dealer, a duo whose slim but stellar catalog is long overdue a revival, incidentally.

April 24, 2013 – As a producer and songwriter, three-time Grammy winner Stuart Price has had a hand in some of pop's biggest records of the past decade — Madonna's Confessions on a Dance Floor, the Killers' Day & Age, Scissor Sisters' Night Work, Kylie's Aphrodite, even Take That's Progress. In his solo endeavors, however, Price sometimes seems to go out of his way to avoid the limelight. In the 1990s, he fooled listeners into thinking his Les Rythmes Digitales project was actually the work of an artist from the Parisian dance scene; on a few occasions, he went so far as to conduct interviews in French, with a translator. He stuck with the Gallic conceit for his pun-loving DJ alias, Jacques Lu Cont, and he hijacked David Bowie's Thin White Duke moniker for his remix work.

April 23, 2013 – Man, people must really miss the "Harlem Shake" meme. In the seven or eight weeks since that phenomenon has gone from "Hot" to "Oh Heeeelllll No," a nation of Final Cut Pro-Ams and bootstrapping bedroom producers have found themselves with way too much time on their hands and a precious lack of raw materials. Sure, last week's Sorority Meltdown was fun, but how many ways can you spin that? (Answer: Just one.)Thank goodness for Daft Punk, then. The agonizingly drawn-out pre-release campaign for Random Access Memories has practically begged for audience participation, and the audience happily obliged. Not long after the French duo snuck a 15-second loop of "Get Lucky" into Saturday Night Live's commercial breaks, fans, opportunists, and culture hackers were loading the fragment into Ableton. The paucity of available content actually turned out to be a productive creative prompt.

April 22, 2013 – Disco and astrology often went hand in hand, and Norway's André Bratten revives the tradition with "Libra," one of the standout songs from his album Be a Man You Ant, forthcoming from Prins Thomas' Full Pupp label. He sure picked the right star sign for the song's title: "Libra" is airy, elegantly harmonized, and, above all, extraordinarily balanced, playing out a daydream of a melody over a steely robo-disco groove.Its lilting refrain and easygoing groove are reminiscent of Todd Terje's 2012 smash "Inspector Norse," which might not be entirely coincidental: Bratten is something of a protégé of Lindstrøm and Terje, whose studio he shares. Like "Inspector Norse," "Libra" is an anthem masquerading as a whimsical ditty; don't be surprised to find a wide swath of clubbers congregating around this one this summer.

April 19, 2013 – Despite its title, the French producer Rone's "Bye Bye Macadam" never actually leaves the pavement; instead, it just rolls steadily, ceaselessly towards the horizon, with Koyannisqaatsi-inspired arpeggios doing a slow/fast tumble like hubcaps that seem to drift in suspended motion.Leave it to original night driver Juan Atkins to rebuild the engine from scratch and send the whole thing sailing into the stratosphere. The Detroit techno pioneer swaps out the original's gentle undulations for rolled-steel drum hits and careening pings and squeals. It's clenched and mean, far tougher than Atkins' work with Moritz von Oswald on their upcoming Borderland EP, and easily as psychedelic.

April 18, 2013 – Norway's left-field dance producer Hans-Peter Lindstrøm is teaming up with Oslo's Maaemo restaurant to present a special brunch during this summer's Øya festival. But don't expect a slice of cantaloupe at the end: Try a carrot sorbet served with sea-buckthorn berries, cubes of caramel jelly, and sugar beet. Maaemo — Old Norse for "Mother Earth" or "all that is living" — specializes in local ingredients prepared with a whimsical touch. That means dishes like picked spruce juice, grilled cucumber and parsley, porridge with reindeer heart and brown butter, and burnt marzipan and wheat-beer vinegar.

April 17, 2013 – Laurel Halo is fucking stoked about playing live. Over the course of an hour-long conversation, the New York electronic musician exclaims, "I love playing live," or some variation upon that phrase, at least half a dozen times. And she is equally stoked because the way she makes music on stage is finally determining the way she makes her records, and not the other way around. And the way she makes music on stage is to throw the laptop out the window and let the jam reign supreme.Unsurprisingly, Halo's upcoming EP, Behind the Green Door, reflects a newfound focus on rhythm. Without forsaking the swirling, psychedelic qualities that have distinguished all of her records so far, its four tracks dive headfirst into churning, tumbling rhythms informed by Detroit and U.K. techno. "Throw" pairs detuned piano stabs with sullen squarewave bass bleats.

April 16, 2013 – Who: Detroit techno fans have long spoken of the movement's first, second, and third "waves" of artists who came along in the late 1980s and early 1990s, but Kyle Hall represents its second generation, literally. His father ran with the West Side's "preps" scene of middle-class kids who dressed in GQ-inspired fashions and gave their parties names like "Charivari," after a New York boutique dedicated to avant-garde European fashion. He learned to spin from Raybone Jones, a highly regarded Detroit DJ and friend of his mother, the singer Penny Wells. (Hall comes from a musical family: His uncle was the late jazz pianist Sir Roland Hanna, his aunt Naima Shambouger is a jazz singer, and another aunt plays "like, world, folk, fusion" violin.)Birth of the Cool: "Listening to ghetto tech on the radio, that was my early introduction to techno," he says.

April 12, 2013 – The last we heard from Basement Jaxx, in 2011, they were scoring the South London-based sci-fi flick Attack the Block and collaborating with the 60-piece Metropole Orkest on a bombastic orchestral rework of their already maximalist back catalog. It sounds like the subsequent two years away from the studio must have helped clear their heads, because their new single finds them getting back to what they've always done best: punchy, tropical, pop-infused dance cuts with a slightly unhinged sense of fun, and hooks up to here."Back 2 the Wild," which they premiered today on Annie Mac's BBC Radio 1 show, is the kind of tent-toppling Carnival anthem we haven't heard from them since 2003's Kish Kash, maybe even 2001's Rooty. "I wanna go back! Back to the wild!" runs the refrain, over whoops, congas, cowbells, kazoos, and yes, even the occasional bleat of a vuvuzela.

April 11, 2013 – Are you sitting down? You'd better be when you listen to "Meu Estilo," a 33-minute DJ mix from the Angolan-born, Lisbon-based musician Nigga Fox, because its bewildering, polyrhythmic twists and turns are enough to sweep the rug right out from under your feet. "Meu Estilo" is Portuguese for "My Style," which is fitting, because Fox is definitely doing his own thing. The first nine tracks in the mix, a promo for his appearance at Príncipe Discos' monthly showcase at Lisbon's Musicbox club next week, are all Fox's own, and they suggest an unusually focused musical vision.Sampled hand percussion and drum machines provide the rippling rhythmic base, with shuffling triplets set against a lanky 4/4 pulse; scraps of accordion, synth, and voice are daubed on like wet streaks of paint.