“Have you timed your move just right?”

Leave it to Lynch to catch us all off guard yet again, even from our speakers…

“Take Me Over” is pure pop for now people—sophisticated enough that you feel cool having it on your iPod, gleeful and light enough to provide the soundtrack for so many good times.

‘Maybes’, with its found sounds, its reverbed guitar licks and the gurgling synth solo at the end which, to these untrained and perverted ears, sounds like RJD2 getting a blow-job.

Despite their pop sheen, Adele’s songs simmer with something resembling authenticity and soul; it’s amazing that the spirit of Etta James could reside in the voice of a 22 year old from Tottenham.

We’ve been missing Brazil’s fun- loving riot gurl since her departure from Bonde Do Role almost 3 years ago. Well now she’s back in our faces for good.

DFA released “Since We Last Met,” a single from Seattle electronic duo NDF. And just recently, DFA commissioned a cover of “Since We Last Met” by Alessio Natalizia—an Italian-by-way-of England one-man band better known by his stage moniker, Banjo or Freakout. It’s a sonic signature you’ll want to meet again and again…

From the burst of analog synth goodness that kickstarts “Throw”—LCD Soundsystem’s cover of Detroit legend Carl Craig’s techno classic—you know what follows is gonna be nothin’ but a party.

What does a banging jam look like? Well, we know what it sounds like, thanks to this remix combining two of the funkiest groove merchants working today: filthy Philly/B’more rapper Spank Rock and dirty Jersey’s holy rollin’ house-music maestro Todd Edwards.

“Hang On In There” has all the elements of great psychedelic soul from the past—the epic string arrangements that marked a masterpiece like Isaac Hayes’ Hot Buttered Soul, the wah-wah guitars, fractured song structure, and trippy delay effects of the late-period Temptations.

Fuzz is the latest, greatest electronic groove merchant to come out of the L.A. “beat scene” that produced the likes of Flying Lotus and Nosaj Thing et al. Today’s track, “Marshmallow Bazooka,” comes from Fuzz’s debut album Sparkle Vision, due out October 26, and it’s a typical killer from the lad.

No matter what shades A-Trak is rocking, this is the sound of a visionary.

Damn Marsha, cool down, you’re about to give us heatstroke…

Are mashups the new…. Mashups?

the next generation of African musicians will soon reign over mainstream pop.Today’s track of the day is case in point. Tinashe, a young chap raised in Zimbabwe but carefully transplanted to South London, comes to release his debut single ” Saved” next week off of Island Records.

The most played track this summer has got to be James Blake’s “CMYK.” Having been released only a few months back, it seems the blogosphere world can’t get it out of their system and neither can we. The track is masterstroke and described as this year’s Hyph Mngo.

Since the mid-90s, when the Hardkiss clan was particularly prodigious in terms of hype and musical output, the glow of that eclectic west coast tribal thing has dulled. However, the hardcore shall prevail, especially the talented and Scott Hardkiss has shown his ability to survive any permutation of electronic music. He made the jump to New York a while ago, but his ethos remains decidedly left coast and on his last God Within full-length it shows. He has also shown his continued relevance by enjoining a bevvy of remixers…

Miguel Atwood-Ferguson has truly put his fingerprint on the most adventurous, meaningful sounds: the meta-talented composer, arranger, and instrumentalist has worked with everyone from John Cale to Rihanna, Outkast to Flying Lotus, Dr. Dre to Mulatu Astatke.

“Cryptic Motion” sounds like Gary Numan attempting a cover of Stevie Wonder’s “Superstition,” with someone from France wearing a robot suit sitting in on vocals; in other words, it’s “FREAKING GREAT AND ALL MUSIC SHOULD SOUND LIKE THIS!!!!!!”

Adam Freeland has taken on many guises. First the legendary U.K. DJ/producer was a breakbeat dude; then he kinda mixed rock with fat dance jams. These days, it seems, he just does whatever sounds great, and the genre classification can go to hell. Case in point: Freeland’s new remix of “Searching” by Om Unit.