Cadence vs Hugo Varvoglis", the cut that closes Fleur de Lily, has been transformed into the ghostly centerpiece of the Carbon Lily Remixes by Greek dance-music auteur Hugo Varvoglis. This set of inspired reinterpretations of Fleur de Lily songs features mixes from nations all over the world - an appropriate gesture, considering Dalton's timely subject matter. Varvoglis is the star of the set, though: he's reworked four Fleur tracks, and it's his ethereal and propulsive drum and synth programming that gives Carbon Lily so much of its delicate-yet-dangerous character.

Justin Staggs (NOFX, The Soviettes, Strike Anywhere) makes videos that are dark fantasies - he loves to set iconic images against black backdrops, and juxtapose these with images of attractive performers in action. Here, the winsome Dalton provides the beautiful face, and Staggs does the rest. Well, that's not entirely accurate - Dalton has lovely hands, too, and the "Cadence vs Hugo Varvoglis" clip contains plenty of over-the-shoulder shots of the young pianist at work. The room around her is abuzz with sinister and enchanted life: cardboard moths flicker around a suspended lightbulb and a single candle, marionettes shake to attention and then hang, hunched over and poised for their strings to be pulled by an unseen hand. Stuffed animals float from the floor to the ceiling, and surround a masked ballerina as she pirouettes in place. It's all a bit like a young girl's toybox gone mad: childhood memories animated by ghostly rhythms.

The results are in, and it's official: the international indie rock community is in love with Jens Lekman. And how, really, could anybody resist? - he's just about the most charming indiepop star to emerge since the heyday of Belle & Sebastian. Even his letters to his fans (scribed old-school style on his winning website) are conversational, warm, approachable, the writings of a friend. It's not just an image either; this is who he is. Thousands of smitten fans around the world can hardly be blamed for imagining that if they could just board the next plane for Sweden, Jens Lekman would be waiting there for them - glib, open-handed, and eager to give the grand tour.

Then there's Lekman's music. Over the course of several astonishing EPs, LPs, and compilations, he's made it cool to be sweet again. Listeners count on Jens Lekman for radiant melodies, clever samples, a warm baritone voice called "boyfriendable" by Pitchfork (Magnetic Fields reference intended), witty and lovelorn lyrics, illuminating juxtapositions, and dazzling indiepop experimentation. When I Said I Wanted To Be Your Dog, his '04 debut, felt like a magnificent hybrid of The Left Banke, solo Morrissey, and a peculiarly Scandinavian version of the Modern Lovers; Oh You're So Silent Jens, the collection that followed, established him as one of the pop firmament's brightest lights.

Jill Criscuolo's perfect realization of the sound and spirit of mid-Eighties dance-pop made the remix of "I'm Sorry" a mandatory download for clubgoers in 2006. Although it was an indie release, the record was added to more than 300 radio playlists, and introduced thousands to a fresh voice and an artist on the rise. For an encore, she's upped the ante considerably. If "I'm Sorry" was her "Lucky Star" - an effervescent, glittering, reflective breakthrough-number - then "Insane" is her "Burning Up". Criscuolo and her producers dig into the groove and refuse to let go; this song is primal, carnal, and near-dizzying in its kinetic energy. The singer's performance is similarly charged: she sounds giddy and pleasurably destabilized, and she sustains that mood through the track. But it's not a boy she's shouting about here. Instead, "Insane" is a paean to her true love - pop music in all its dazzling, delicious forms. She's wild for the sound of it, captivated by the rhythm, and she's coming to take her deserved place among the commercial radio favorites. Certainly her independently-produced videos have the look and feel of superstar vehicles. A part-time fashion model, Jill Criscuolo knows how to work the lens - and she's also been shrewd enough to cast supporting performers who are similarly charismatic. The "I'm Sorry" video told the story of a deteriorating marriage in bold, Technicolor strokes, and Criscuolo played the role of the avenging wife to the hilt. In the "Insane" video, the New Jersey singer is possessed by an entirely different sort of mania: this time, it's music that's driven her over the edge. Produced by Fame Little, Vaughn Christion, and co-directed by cinematographer Lindsay Mann, the "Insane" clip is as playful, sexy, and downright engrossing as any of the delicious day-glo videos from Madonna or Tell It To My Heart. A barefoot Criscuolo lies on her back among records and musical instruments, and directs her siren song to the camera. She's walking the streets of Manhattan and seizing musicians who strike her fancy - then, when she's won their confidence and guided them back to her warehouse, she locks them in a room where she can view and listen to them at her pleasure. She's only selecting the best-looking ones, of course, and when she encounters a muscular, shirtless busker (the Times Square pseudo-celebrity "Naked Cowboy") in the middle of a city street, her need to possess him (and his music) overwhelm her. Eventually, the police become hip to her game, but when they raid her nefarious nest, they find the beat irresistible. Look for a special guest appearance at the end of the clip, too: Criscuolo has some famous friends, and at the rate she's going, she's sure to be acquiring more.

If the video for "Down The Line" is any indication, he's also got excellent taste in alternative comics. Andreas Nilsson and Mikel Cee Karlsson's moving clip for the new single is inspired by Manhog Behind The Face, the arresting strip from underground cartoonist Jim Woodring. (Nilsson and Karlsson also shot a follow-up video for "Killing For Love" that also uses similar imagery) Woodring's character is a burly man with a pig's snout, and he's likely to follow his base urges, even to the brink of self-destruction. But he isn't violent - on the contrary, there's something endearing about the man-hog, and his ingenuous expressions of natural instinct.

José Gonzalez's attraction to Woodring's work, and to Manhog Behind The Face in particular, will be unsurprising to anybody who has followed his work so far. González's writing seeks to strip away artifice and lay bare primal emotion; it is no coincidence that his new album is titled In Our Nature. The singer-songwriter has stated in interviews that his aim was to "bring out the primitive aspects of human beings", and indeed, the writing on In Our Nature is bold and uncompromising. His choice of covers is telling, too - here he does "Teardrop", Massive Attack's hallucinatory love ballad, and a song that speak directly to the unconscious. "Down The Line", the lead single from In Our Nature, is steeped in eerie foreboding, and feels like the soundtrack to a beautiful but disturbing dream.

Josie Cotton (born Kathleen Josey) is an American singer/songwriter, best known for her minor hits "Johnny Are You Queer" and "He Could Be the One" from 1982. "Johnny Are You Queer" has been featured on the soundtrack to the movie Jackass Number Two. Check out her Maneater video here on Xyzmp3.com!

The clip for "Can I Get Get Get" - the centerpiece of Hey Hey My My Yo Yo - is all about saying thanks. The song itself is an ecstatic come-on that's more neighborly than lascivious, and it's so damn friendly that it seems to demand a response. Recognizing this, Junior Senior posted a solicitation to their website, asking fans to send in their own homemade karaoke-style video footage. Thousands responded, and Junior and Senior have compiled the very best and released it as the official video for "Can I Get Get Get".

If there was any lingering doubt about the international appeal of Junior Senior, this clip ought to dispel it: here are fans dancing in front of Big Ben, the New York City skyline, the Hollywood sign, Nordic houses, the Australian desert, and landmarks in Japan as well. The young volunteers sing with an enthusiasm that can't be faked; they dodge around the camera, inhabiting every line of the song. Junior (Jesper Mortensen) and Senior (Jeppe Laursen) appear themselves, but they don't hog the screen-time - they are, the clip seems to suggest, just another pair of dance music enthusiasts, as enthralled by the beat as any of their listeners.

The sensational clips for "We Are Your Friends" and "D.A.N.C.E." have become online favorites, displaying the sort of inventiveness, good humor, and remarkable digital energy that we've come to associate with Chemical Brothers and Daft Punk videos. Meanwhile, Justice has become the hottest act in electro music on either side of the Atlantic, known in dance clubs around the world for their crisp beats, clever samples, and a distinctive bass sound that is so thick and rubbery that it's almost tactile. Justice principals Gaspard Augé and Xavier de Rosnay have remixed songs for N.E.R.D., Britney Spears, Franz Ferdinand, and Fatboy Slim, and the duo turned the biggest tent at Coachella this spring into a gigantic house party.

The video for "D.A.N.C.E." is credited to Jonas & Francois, but like everything out of the Ed Banger Records collective of French electro acts, its spirit has been guided by art director So Me. Here, he's designed a series of T-shirts that, when coupled with some innovative filming techniques, appear to be interacting and responding to each other. The concept is straightforward: two young men in plain tees, one black and one white, walk through a dance club - and as they do, their shirts change, and often in fascinating and hilarious ways. We get logos, slogans, famous faces (in action, of course), a spectacularly-detailed page of comic-book writing that's scrawled on and erased almost as fast, and even an interruption by a girl in a classic Yes t-shirt and another whose illustration of a synthesizer somehow turns into an actual instrument. Interspersed are stretches of straight animated footage: bright day-glo titles, a tunnel made out of the legs of dancing-girls, hands raised at a sold-out concert. It's glowing, celebratory, crazy, a night out on the town, a wild thrill-ride through the heart of the Technicolor city.