There’s a strand of electro-assisted, dance-leaning French pop that’s captured the international consciousness. Phoenix and Justice are Grammy winners, while Air exemplify the cooler, more reflective end of it. The bands come from chi-chi burbs like Versailles or towns south of Paris, south of the Seine. And so it is for Housse de Racket, an outfit from Chaville, between Versailles and Paris. On the evidence of their second album, they’re potential border breakers.

The Seventies “Kosmische” music of Germany – the more spaced-out and synthesister-led counterpart to Krautrock that had its commercial apogee in Tangerine Dream – seems to be a gift that keeps on giving. Perhaps because the releases were for so many years mainly obscure and had to be hunted down by passionate and/or deranged followers, it has built a global network of followers who extend its principles into new music. From Gorillaz' Damon Albarn to techno legends like Carl Craig, its rippling synth patterns and sidereal twinkles can be heard woven into the fabric of popular culture. And there are plenty who reproduce its most abstracted jams in pure form, too.

This is pretty weird stuff. Or at least, that’s the way it seems at first. If all you know, as I did to begin with, is that DJ Diamond is a 24-year-old DJ from the West Side of Chicago whose real name is Karlis Griffin, and that Flight Muzik is his debut album, then this will seem like music from another planet – one where notions such as melody, structure and listenability have little meaning; it’s music, but not as most of us know it.

The Anticon label is a deepy peculiar animal. Around the turn of the millennium, its core members – going by names like Boom Bip, Doseone, cLOUDdEAD, Jel and So-Called Artists – took a nerdy yet intensely psychedelic approach to hip hop, and ended up creating a woozy and out-there sound that prefigured a huge amount of currently hip music. Now that the appallingly named new shifts in stoner music - “glo-fi” and “chillwave” - are opening up the territory between indie and hip hop/dance again, Anticon seems hugely prescient, but with new artists like Son Lux, it seems the label is once again ahead of the pack.

Why is it that a certain strand of faceless electronic music, currently best represented by outfits such as Caribou and Gold Panda, often achieves such a strong media profile? These acts and their kin have their moments - the odd real cracker, in fact - but the impression is given that their classy, considered bedroom noodling is more valid than something equally faceless that's sweatier and more percussive.

The nominations for the 2011 Barclaycard Mercury Music Prize were announced earlier today. Beyond PJ Harvey and Elbow having won before, nothing wildly surprising cropped up.

Several of my favourite tracks of 2010 were on Tradi-Mods vs Rockers. This was a musically audacious project in which a bunch of Western pop and rock musicians dared to unpick the intricate fabric of some Congolese bands who were already making some definitively funky music of their own. The question that arose while I was reacquainting myself with this double CD yesterday, was how were these mostly cut'n'paste studio confections - made in the absence of the musicians that inspired them - going to be recreated live with the involvement of those very same musicians?

How refreshing it is to learn of an album the recording of which was fuelled by black tea rather than, say, marijuana. Although having said that – given the heady, languorous music that Brooklyn’s Roberto Carlos Lange (aka Helado Negro) has come up with - I’d like to think that at least a smidgen of the world’s most popular illicit substance was also involved. But perhaps it was just the natural high brought on by a decampment to rural Connecticut - where he apparently sat in the forest “centring himself” – which contributed to the otherworldly ambience.