Supposedly, electronica (the catch-all phrase for music that makes use of keyboard samplers, strange noises, turntable terrorism and computer technology) is the next big counterculture.

Unfortunately, most countercultures become mainstream when media blitzes and too much promotion bring them into the collective consciousness. (Remember grunge?)

Electronica is heading the same way. It is slowly gaining popularity, as seen in the recent success of artists such as Prodigy, DJ Shadow, Tricky and the Chemical Brothers.

The number of electronica recordings available on the market has exploded. The last month has seen at least three dozen substantial releases. But which ones should you make sure to pick up? Which ones should you avoid at all costs?

The following are three of the best, or most critically acclaimed (which doesn’t necessarily mean good), and are the first part of a three-part series which will run the following two Mondays.

“Dots And Loops”

Stereo Lab

Of all the techno releases to be released this month, Stereo Lab has probably received the most mixed reactions. Unfortunately, it doesn’t deserve the good press some critics have given it.

Songs like “Parsec” and “Miss Modular” have catchy song titles but no real substance. The former is basically weak jungle samples laid over a throbbing bass line. The latter is a jazzy number with a cycle of various horns, bass and keyboard samples. Both are uninteresting and bland.

“Diagonals” is no better. Imagine an awful rave porn movie soundtrack consisting of percussion, horns and bongos. Then imagine that soundtrack sounding worse than you ever thought possible and you’ve about got the idea.

“Reflections in the Plastic Pulse” shows promise with catchy keyboard samples layered over sampled swooshes and gentle bass riffs. It’s even sung in a foreign language, which is kind of cool.

But “Reflections” is the only spot in which the CD actually boils.

At least the CD raises a few good questions. When did muzak become profitable? How did this group get a record contract? Why would anybody pay money for this piece of crap?

These are just a few of the questions that come to mind when listening to “Dots And Loops.”

1 star out of five.

“Vegas”

Crystal Method

The Crystal Method has become a hot name in the electronica world recently. This is mainly due to the amount of radio play given to the group’s collaboration with Filter, “Trip Like I Do,” off the “Spawn” soundtrack.

“Vegas” has an alternative version of that song, although it isn’t as good as the industrial-laced version.

It is almost the same music, but Filter’s parts have been substituted for keyboard loops and funky samples. The aggression is completely gone, unfortunately.

However, the rest of the CD is actually pretty good. The Crystal Method (Scott Kirkland and Ken Jordan) manage to mix several different types of electronica and still make the music sound good.

“Cherry Twist” fluctuates between ambient and house, from slow to fast and back again. The result is an interesting number that will make you groove with ecstasy.

“Keep Hope Alive” thrives from a spicy rhythm, laced with luscious keyboard sections and breaks funkier than George Clinton’s sweaty socks.

Eric B. and Rakim’s “Know The Ledge” is mixed into a dense atmosphere of freaky breaks and synthesized insanity on “Busy Child.”

Frenetic keyboard samples fueled by eerie sounds and gothic sentimentality drive “Bad Stone” along.

Overall, the CD is fairly strong, despite a few clunkers (“She’s My Pusher” and “Comin’ Back”). It is easily one of the highlights of the month in electronica music.

3 1/2 stars out of five.

“Symbols”

KMFDM

KMFDM is one of those groups that most people probably have heard of but have not actually listened to (kind of like Green River and Kraftwerk).

This is too bad because KMFDM is a really decent group. Its music is in the same vein as Ministry and White Zombie, a heavy mixture of industrial and electronica.

“Symbols” does have its rough spots, as evidenced by “Spit Sperm” and “Megalomaniac.” The former is filled with silly lyrics, watered-down Megadeth guitar licks and minuscule explosions. The latter is a mixture of vocal distortion and pathetic club music.

But these two bad songs are merely shadows of great songs. “Stray Bullet” is one of these. It is bass heavy and has a great chorus (“I am your apocalypse/I am your belief unwrought/monolithic juggernaut/I’m the illegitimate son of God”).

“Leid Und Elend” is sung completely in German. It has excellent keyboard sections, a sweeping sample sequence and furious guitar riffs.

Other highlights are “Down and Out” with its huge bass loop, evil resonating vocals and bizarre keyboard samples, and “Unfit” which lurches along at a diseased, pestilence ridden pace.

The two best songs on “Symbols” are “Torture” and “Mercy.” The former is an undescribable music experience that is as mind jarring as an acid peak. The latter coalesces psychedelic samples with an offbeat back flow laced with heavy, choppy guitar riffs.

Hopefully, KMFDM’s newest release will catapult the group to the fame it deserves.

Unfortunately, that probably won’t happen because most die-hard ravers don’t particularly care about industrial-filled techno.

4 stars out of five.