For the last 13 years, Matmos (Drew Daniel and M.C. Schmidt) have created one of the most fascinating discographies in the post-everything world of experimental- electronic music. Conceptually rigorous and brilliant, their albums use unusual sample sources (laser eye surgery and rhinoplasty procedures, crayfish nerve tissue, latex shirts, etc.) combined with clever, overarching strategies (Civil War concept album, tributes to subversive historical/cultural figures, gay-porn soundtracks, etc.) with a mixture of digital and analog instrumentation.

Matmos's latest left-field excursion is a collab with the avant-garde New York quartet So Percussion, who've performed with Steve Reich and recorded works by John Cage, Iannis Xenakis, and many other innovators. Matmos and So Percussion's new album, Treasure State (Cantaloupe Music), proves the matchup to be a strangely harmonious conflation of the two ensembles' sensibilities. The disc's eight tracks play out like an arcane ritual in which gamelan and new strains of exotica get infiltrated by Matmos's zest for quirky textures and disjointed dynamics. "Swamp" is particularly sublime and utterly evocative of its title, but "Cross" seems inhabited by the funkadelic spirit of George Clinton, giving DJs something oddly juicy with which to baffle dance floors. It would be foolish to miss this rare meeting of eccentric minds.

Chop Suey's June 23 show is also something of a mini-showcase for L.A.'s robust and much-discussed electronic-music milieu. Shlohmo, Strangeloop, and Teebs all add more badass bass frequencies to the City of Angels' bunker of brilliant beatmakers. The nocturnal post-hiphop soundscapes of Shlohmo (20-year-old Henry Laufer, who splits his time between L.A. and San Francisco) give Flying Lotus a run for his soulful glitchiness and heady heaviness. Shlohmo's Camping EP and Shlomoshun Deluxe full-length offer an abundance of inventive, off-kilter funk for your advanced head-nodding pleasure.

The even weightier Strangeloop (aka David Wexler) came to my attention through his awesome 2010: (or) How I Learned to Stop Worrying and Love the Technological Singularity (on FlyLo's Brainfeeder imprint). One of the most powerful releases of the year, 2010 generates seismic waves of low-end pressure. A strong futuristic, dystopian vibe runs throughout Strangeloop's music, which triggers dancing- in-the-ruins scenarios in your mind's eye. "The New Gods (Transcendental Awakening)" even reminds me of Witchman, a mostly forgotten '90s producer whose infernal jungle/IDM hybrids foreshadowed some of future-bass music's recent developments. Strangeloop appears destined to rise among the upper echelon of this decade's dark studio magi. recommended

Matmos and So Percussion perform with Lexie Mountain Boys on Thurs June 17, Triple Door, 8 pm, $20, all ages; Strangeloop and Shlohmo perform with Teebs, Timeboy, Splatinum on Wed June 23, Chop Suey, 9 pm, $5, 21+.