Here in the 21st century, as NASA’s space program has fallen on fallow times, the space-disco sub-genre has experienced an upsurge. The spike has been spearheaded by two Norwegian dance producers, Hans-Peter Lindstrøm and Thomas M. Hermansen, who record and play out as Lindstrøm & Prins Thomas, respectively. Norway’s space program may be nonexistent, but the duo’s records render the earmarks of the disco era in a new and satisfying light.

Those who missed Prins Thomas spinning at both Water Beach Taxi and at APT last weekend can (partially) relive the experience on his recent mix, “Cosmo Galactic Prism.” In homage to the origins of such “space music,” Mr. Thomas opens the set with wacko producer Joe Meek’s equally bizarre “I Hear a New World,” originally recorded in 1960. That year, Meek, who achieved fame for his production on the Tornados’ “Telstar” (the first no. 1 hit in America for a British act), concocted a concept album about life on the moon before either concept albums or the Apollo space program was conceived, befuddling anyone who came across it. From there, Mr. Thomas rockets through a galaxy of songs that touch down on jazz, rock, and funk, as well as competing strands of current electronic music. Such recent techno upstarts as Matias Aguayo, Closer Musik, and Isolée make the cut, along with Hawkwind and jazz softie Bob James. Mr. Thomas caps the two-disc set with a track from yet another space-obsessed group: Parliament’s rubbery “Night of the Thumpasorus Peoples.” And so the Mothership takes off yet again for outer space.

Those looking for terrestrial dancing, but not the trappings of mirror balls (or walls, for that matter), might want to queue up for P.S.1’s Summer Warm Up series, where this weekend A Touch of Class and Lee Douglas will deejay, alongside live sets from Services and Kudu. A Touch of Class has made its name remixing the likes of the Gossip, Scissor Sisters, and Le Tigre, while Lee Douglas, representing the Rong Music label (as well as the borough of Brooklyn), proffers an alternate universe of disco staples from yesteryear with his astute re-workings. His recent edit of Eddie Kendricks’s “Thank You for the Memories” captures that tune’s rapturous peaks and keeps them percolating again and again, while his spacious “New York Story” single from this year is one of the finest retro/futuristic slabs of the season.

Those who seek retro pleasures with tongues firmly lancing their cheeks will find themselves at a real dance club, Studio B, for a live set from VICE-signed lotharios Chromeo, who perform there Friday (along with Flosstradamus and upstart Kid Sister). Chromeo’s newest album, “Fancy Footwork,” finds the duo of Dave One and Pee Thug still strip-mining the small tract of land between Michael Jackson’s “Pretty Young Thing” and Zapp & Roger’s “I Want To Be Your Man” courtesy of their vocoder. There is a slight move toward hooks and analog textures rather than the canned beats of their debut, but unsurprisingly, on songs like “Mama’s Boy” and “Tenderoni,” the duo’s humor falls squarely in the same realm as their label’s magazine. They emulate the past, but with ever-diminishing returns.

o single theory quite elucidates why fantasies of outer space and disco music go together so well. Some say it was little more than the convergence of the twin peaks of 1977 cinema: “Star Wars” and “Saturday Night Fever.” Others will say that being in a discotheque 30 years ago was akin to being on a spaceship, for more reasons than one. The blinking lights, silvery surfaces, and clothing that looked more extraterrestrial than human (from today’s perspective) suggested, if not spaceships, then at least a temporal escape from earthly concerns. Some disco tracks embraced intergalactic imagery outright, including (but not limited to) Orlando Riva Sound’s “Moonboots,” Boney M.’s “Nightflight to Venus,” and Cloud One’s “Atmosphere Strut.”