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Ever since this twentysomething Londoner burst onto the insular and puritanical steel-string guitar scene, he's been releasing albums at an annual pace.

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Open ears might know the name of '60s African jazz master Astatke from his music for Jim Jarmusch's film Broken Flowers, but this collaboration with the U.K.-based Heliocentrics (who've backed DJ Shadow and been sampled by Madlib) exists beyond all borders or eras. Originally teaming for a live one-off, the two parties complement each other intuitively on this session.

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At some point in the last decade, the open-endedness suggested by the term "post-rock" narrowed down to a form more constricting than "12-bar blues," the rhythmic playfulness of Tortoise becoming the solemn portent of Explosions in the Sky.

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The brainchild of Yale music-composition grad David Longstreth, Dirty Projectors have moved from being New York's most precociously overintellectual indie-rock outfit (previous albums conceptualized Black Flag and Don Henley) to something wholly unidentifiable. Longstreth's prickly surface belies a bright pop center: tart, sweet, and gushing all at once.

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For their second collaboration, nü-disco producers Lindstrøm and Prins Thomas don't really tweak their debut's formula -- melodic lines still morph and hypnotize like lava lamps.

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Well known as purveyors of viscous guitar sludge, the duo of Stephen O'Malley and Greg Anderson expand their ambitions and make some startling jazz-ensemble noises on their seventh album.