Cornelius’ Fantasma amazed us last year, taking us on a roller-coaster ride through a specific version of the history of pop music, from the Beach Boys to the Clash to My Bloody Valentine, with a little hiphop gluing it together, light on lyrics and long on controlled vibration. The record betrayed a highly conceptual Japanese sonic stylishness that could only be fashioned in youthful Shibuya, Tokyo. One man, Keigo Oyamada, played all the instruments on the seamless, studio-perfect album. Though Cornelius, named for the Planet of the Apes protagonist, works with a band, he doesn’t seem like a natural team player. But now he’s collaborating, remixing his journey in sound, as the FM half of this two-CD project. Luminaries from Damon Albarn to Coldcut reshape Fantasma. Money Mark turns in a too-chill “Mic Check,” but, gloriously, the High Llamas coax us back into the music’s mysticism on “The Micro Disneycal World Tour” with signature banjo. Buffalo Daughter, self-proclaimed purveyor of “new rock,” pares down “New Music Machine” for futuristic tastes. The artists who adopt Fantasma’s songs as their own, taking them somewhere Cornelius would not have gone instinctively, make the most lasting impression: The Pastels, for example, bring a light, psychedelically dubby touch to “Clash.” The other half of the release, CM, finds Cornelius remixing the remixers. He loads up samples from the Planet of the Apes soundtrack and playfully reworks U.N.K.L.E and the rest to make CM’s remixes segue together as one. Cornelius modernizes the neo-Tropicalia of the High Llamas on “Homespin Rerun,” proving that his biggest talent is his touch with ultralight, sugary, bubble-gum novelties.—John Dugan