While it's true that those seeking inspiration to craft better pop music look to the legacy of the Swedes, perhaps they should look instead more closely to the mind of Eric Berglund. A product of Scandinavia himself, Berglund possesses the magic touch held by a number of other endearing Swedish artists like Lykke Li, The Knife and his former group The Tough Alliance -- a member of the label Sincerely Yours, which he co-founded. Berglund's solo project, ceo, made its brief debut with White Magic in 2010. It was melodically simple and straightforward, but technically elegant and daring. It was optimistic, triumphant pop music, yet anything but ordinary.

Early fans have had to wait four years for a follow up, but if there's one thing that Berglund wasn't doing during ceo's hiatus, it was losing his touch. Wonderland is his latest declaration to the world, setting the stage with an opening sample from the documentary Feathered Cocaine that states: "And I felt like I opened Pandora's box, and now I have to close it." The mood quickly departs to funhouse mode where a flurry of light melodic keys and childlike calls transport the listener to a simpler, more jubilant time, yet otherworldly place.

'Harakiri' takes it down a notch while still keeping the listener entranced by Berglund's fantastical world. The airy arpeggios reminisce of Passion Pit, while samples continue to layer over swirling piano and hypnotic synths. Straightening up a bit, the album switches into 'Mirage' with a dizzying sample, as if in a 1980s thriller or James Bond video game. The tribal beat highlights the dark uncertainty of the song, as Berglund echoes, "I don't know much about this world." He raises the question of how we know if emotions are real in today's digital age, or how we can possibly come to terms with a changing definition of what that means; adding, "And if you think I tweet these words to you, damn right I do."

The majestic 'In A Bubble On A Stream,' does little more than act to clear the air between theme-heavy 'Mirage' and the racing title track 'Wonderland.' The skipping chorus line, more fitting of a techno track, induces more anxiety than the ability to "let go" as the track lyrically begs. Berglund reconciles with the song's playful sensibilities, however, never taking it too seriously. Not all artists can get away with such lightheartedness, but where the album is sonically childlike, it is structurally complex.

In slides 'jUjU,' another interlude filled with soft hums and distorted voice samples. And as the ebb-and-flow of Wonderland goes, 'Ultrakaos' comes in swinging with layer upon layer building from twinkling synths to plucked guitar chords and even a garbled sample befitting of a rap song to create a chaotic kaleidoscope of sounds.

Like its predecessor, Wonderland creates unexpected combinations from instruments and vocal samples, but in a way that is slightly less accessible than White Magic. Similar to the likes of Animal Collective, it weeds out the ordinary pop listener to reward the fan devoted to deciphering its layers. While some may have dismissed White Magic as a few breezy, upbeat tunes, Wonderland establishes itself among today's electronic soundscape -- not a simple task when a four-year gap can easily seem like a lifetime in this genre. What Berglund continues to do on his more developed sophomore album is to retain the warm optimism praised in his early work. If the beginning of the album is about grappling with a web of emotions, where twice Berglund hints at "coming down," then the second half is equally about him acquiring the ability to let go of them.

Album closer 'OMG' carries this idea through with a mesmerizing wave of sirens, bold bass, angelic harp and marching snare drums, to name only a few components. Just as we try and make sense of the chaos of the technological age, where even an elusive solution seems far off, maybe all we can do is have a little fun in the meantime.