Electronic

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So, what have you been doing in 2020? Tensions have mounted, turmoil has reigned and work emails have forever rung out with boilerplate platitudes as the world has ushered in a new decade in more uncomfortable and disquieting fashion than anyone could have imagined in January. Nonetheless, amidst such mental tumult Craig Clouse - the Austin-based sage of the aurally unclean also known as Shit & Shine - has been busily channelling the interface between the surroundings and his own wayward muse into 'Malibu Liquor Store' - a lockdown-birthed psychic landscape mapped out in the first half of this turbulent year. The only expectation any relatively well-adjusted person should have of Shit & Shine remains the unexpected at this stage, with Clouse having released well over thirty records on multiple labels in a storied, questing and uniformly invigorating catalogue - just as comfortable with both bloody-minded electronic assaults and noiserock-driven dirge, as adept at kraut-hammered rhythmic mantras as dancefloor-friendly abstraction. 'Malibu Liquor Store' is none of these things exactly yet simultaneously flirts cheerily and irreverently with all of them. Always shot through with gleeful humour, this is a sonic world that recognises neither boundaries nor common sense. Craig Clouse cares not for your definitions of psych or dance music, and he's never more comfortable than when transcending and annihilating both generic headspaces with casual ease and cheerful panache. Instead, these heat-damaged jams mark a spectral collision course between infectious glitch-heavy groove and an appropriately Texan acid-flashback aesthetic - a world in the last fifty years of culture are reflected and refracted back ad absurdum. Co-ordinates and reliable audial landmarks are rendered meaningless as the title cut comes on like a '60s Morricone chase sequence reassembled in new electronic shapes like lysergically-assisted Meccano. 'Rat Snake' sees the humid grooves of Can's 'Soon Over Babaluma' bludgeoned into delirious submission. 'Devil's Backbone' witnesses Buttholes-esque transgressions of the '80s beamed forward Terminator-style to a cyborg-ridden dystopia, and the glorious skeletal groove of album centrepiece 'Hillbilly Moonshine' meanwhile is nothing less than workout music for the damned - a relentless and pulsating soundtrack for a generation of ghouls mounting a legion of rowing machines along a metaphysical river Styx. The creation of 'Malibu Liquor Store' may just have helped Craig Clouse keep his sanity in 2020, even if it appears custom designed to help us lose our own.

The prolific On The Corner Records are proud to present Trans-Neptunia, the mind bending debut LP from Planet Battagon, exploring new dimensions in left-field experimentation, cosmic sampling and ancient drum machines. Seen drumming with Basement Jaxx, a long-night with a Pearl Syncussion SY-1 drum synth led to Planet Battagon’s rhythm master Nathan “Tugg” Curran setting off on a intergalactic exploration, searching in the rhythmic seas between Saturn’s Rings, creating a full album’s worth of super-sonic jazz-rave, the likes of which have never been heard. Planet Battagon’s Trans-Neptunia was recorded over a couple of days by Tugg, on Live Drums, synth bass, synth drums, and FX in almost full improvisation with associates Martin Slattery (bass clarinet, alto sax , Soprano Sax and FX), Oli Savill (percussion) Mickey Ball (trumpet) and Jack Baker (drums 3-tracks).. Avoiding the many pitfalls and cliches of both jazz and electronic music, the group jammed around a number of themes, whilst synth lines were triggered by Tugg making the machines partners in the group jams that laid the foundations of this album. From the wonky, twisting sonics of Wezlee’s Disco Inferno to the frantic, scattered patterns of Escape From Sedna the EP is full of psychedelic textures and deep space distress signals, coded in a language transformed via earthly amplifiers to resemble a sound landing somewhere between the musical outputs of Sun Ra, Aphex Twin, Herbie Hancock and Carl Craig. With early support from Gilles Peterson and The Wire, Trans-Neptunia is poised to further establish not only Planet Battagon, but the autonomous right to improvise of all imperfect drum machines

Piezo is a Milan-based electronic music producer, DJ and sound artist working at the intersection of UK techno, sound-system culture and mutant dance music. He focuses on releasing energetic dancefloor gems with a distinctively humorous approach to composition and sound design. Piezo has released music on his own personal imprint ANSIA, Version, Idle Hands, Wisdom Teeth, proving his strong connection with the Bristol scene - a city where he lived for years. His first full length lands now on Hundebiss. PERDU is all about stark contrasts: raw & dirty low-frequency pulsating beats VS crystal-clear digital sounds and atmospheres. Piezo's non-synthetic approach to sound design conveys a sense of 'realness' of the displacement, a dust blow cut by razor blade FM synths, pervaded by a sense of restless hypnosis. Belzebu. Perdu.

Black Mass is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic Mother Earth's Plantasia. Originally released in 1971, it's his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson's synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they've inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes. ABOUT MORT GARSON: Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Named after the geographic formations of the seismically volatile Cascadian coastal mountains, the coast/range/arc// reissue features new artwork and an additional track. Remastered by James Plotkin and available on vinyl for the first time.

KILLER BE KILLED will release its sophomore album, "Reluctant Hero", on November 20 via Nuclear Blast. The supergroup, which is comprised of Max Cavalera (SOULFLY, ex-SEPULTURA), Troy Sanders (MASTODON) Greg Puciato (THE DILLINGER ESCAPE PLAN), and drummer Ben Koller (CONVERGE, ALL PIGS MUST DIE, MUTOID MAN), released its self-titled debut album in 2014 via Nuclear Blast Entertainment. "Deconstructing Self-Destruction" highlights the outfit's unique approach to vocals, with Cavalera, Puciato and Sanders all lending their voices to not only the single but all of the tracks on "Reluctant Hero".

Kamixlo has experienced a lot of loss in the last two-and-a-half years. His long-awaited debut LP, Cicatriz, is named after the Spanish word for "scar", taking its intense and energetic tone from the tough times in the Brixton-based producer's life. An extremely personal album that follows 11 songs with titles like "Sick", "Poison" and "Destruction", it pitches soft and hard sonics against each other to create an urgent and exciting tension as the track listing hurtles through its own emotional rollercoaster. It runs from the lurching drone and monstrously distorted vocal samples of opener "The Coldest Hello (Live From The Russian Spiral)" to the bright and melodic kosmiche-reggaeton closer of "Azucar" ('sugar'), produced with Swedish cloud rap producer Woesum. Only just past his mid-20s, Kamixlo has been making a name for himself with his dembow and bass-influenced dance deconstructions, releasing three EPs since 2015, as well as running the recently defunct Bala Club party and label, named after Japanese pro wrestling group Bullet Club. The night was an inclusive operation that established its own unique style of cross-genre post club music for the margins, while allowing Kamixlo the space to develop his soundâÇ"one that was imbued with its own pop immediacy, as well as smatterings of emo, electro and hardcore. British-Chilean Kamixlo's Cicatriz is rife with surprising references. These include the thumping industrial of "The Burning Hammer Bop" - taking its title from one of the most dangerous professional wrestling moves ever invented - and the growling sub bass of "DKD Lethal" - named after DJ Lethal of famous nu metal band Limp Bizkit. Meanwhile, long-time collaborator, producer and Endless party founder Felix Lee appears on the scrambled rhythm and cut-up sampling of "Demonic Y". As the saying goes, there's no pleasure without pain, no resurrection without destruction, and Cicatriz is all these things at once. The album is mastered by Beau Thomas, featuring artwork by Daniel Swan.

Reissue on 140 Gr. Clear Vinyl

Purple vinyl

White vinyl in picture sleeve. Follows the UK producer's HEATERS 4 THE 2 SEATERS mixtape and his debut album, Basic Volume, for Warp. GAIKA collaborates with NAAFI affiliates across each of the eight new tracks, which feature TAYHANA, Lao, OMAAR, Wasted Fates, Zutzut and Lechuga Zafiro...

Bonobo announces own label and releases a new 12" with Totally Enormous Extinct Dinosaurs! For "Heartbreak", Simon Green aka Bonobo and his producer colleague Totally Enormous Extinct Dinosaurs join forces for a dancefloor-driven 12" that builds on some of the basics of electronic music and draws a line from the NYC of the 1980s to today's warehouse parties. After both settled in L.A. around 2015, the two British artists Bonobo and TEED quickly formed a friendship. In the following years they performed at each other's gigs and exchanged demos. The 12" is the first to be launched through Bonobo's new label, OUTLIER - which was founded in partnership with Ninja Tune - and expands its event series with club shows and festival takeovers around the world under the same banner. OUTLIER was launched in the iconic, though now sadly closed, New York club Output and has had Bonobo play and curate a number of nights and festivals on both sides of the Atlantic, including the Melt! festival, Nuits Sonores, OFFSonar, and an unforgettable night at the Astra Cultural House with Matthew Herbert, Dauwd, and of course Bonobo himself, as well as others.

The pioneering electronic composer Mort Garson (Mother Earth's Plantasia) takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson's signature Moog synthesizer serving as the listener's tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes. ABOUT MORT GARSON: Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

The pioneering electronic composer Mort Garson (Mother Earth's Plantasia) takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson's signature Moog synthesizer serving as the listener's tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes. ABOUT MORT GARSON: Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

It's been four years since Sweatbox Dynasty, the fourth solo LP from Pennsylvanian experimentalist TOBACCO. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series Silicon Valley, and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for Hot Wet & Sassy, a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound _ blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss _ here they've bubbled to the top. "I feel like it's the most I've been able to refine what I'm doing," says Fec. "For the past decade I've had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from `what would the Butthole Surfers do?' to `what would Cyndi Lauper do?'" And what would Trent Reznor do? Fec found his answer straight from the source. Their collaborative track, "Babysitter," fuses their voices into one deranged presence: "I'm the new babysitter," they alert, before pivoting into a menacingly saccharine bridge. The track tumbles on a tom fill, then a punishing synth line rips into a cacophony of drums and feedback like a lawnmower gnawing through the living room carpet. "This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further," adds Fec. The collaboration is a work of alchemy seamlessly blending TOBACCO's trademarks with Reznor's industrial rust and sonic gore. Downcast, sincere, woozy, "Jinmenken" might be the closest Fec has come to a ballad. "Maybe you can find me down the line," his vocoded delivery bounces along the beat. "It's me trying to write a Jets song," says Fec. Album opener "Centaur Skin" presents the stylistic concoction that has been the TOBACCO MO from the beginning, crossing dreamy melodic shimmer with the sinister tones and slime. This has become easier to digest, but also far more potent. A motorik beat steadies the track's galloping arpeggio, acting as a springboard for Fec's dark ruminations as well as an uncharacteristically crystalline synth solo. "It's my feel good self hate anthem. Don't worry, I'm good. It was fun to write." TOBACCO hasn't been reinvented, but it has been refined and distilled. Brighter, sharper, and far more dangerous because of it. Hot Wet & Sassy is practically staring at the sun without shades and feeling those corneas roast. Everything looks good as your vision fades. The pop-forward structures exert their undeniable hooks with baneful precision, pulling listeners into their clutches; once there, sugary melody rewards submission.

An eponymous album is a symbolic highlight in an artist’s career. Though often reserved for the beginning of a catalogue, the tradition has also been evoked to designate a celebratory body of work that looks back and epitomizes a defining cultural moment. Oneohtrix Point Never categorically challenges most standard notions of linear thinking in music, constantly shifting within traditional paradigms, unwinding and re-weaving digital sensory triggers into contemporary sonatas. Out today, the Drive Time Suite of “Cross Talk I,” “Auto & Allo,” and “Long Road Home” (which includes vocals by Caroline Polachek) serves as a prelude for the eagerly anticipated return from Daniel Lopatin, the New York based artist and producer, whose name has become synonymous with era-defining art. At the end of 2019 Lopatin soundtracked one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller Uncut Gems. Prior to that release, Lopatin’s celebrated album Age Of (Warp 2018) foreshadowed a universal feeling of shifting tides that cuts even deeper today in the current state of world affairs, Now, Lopatin turns the dial towards his own inner frequencies, drawing from the origins of OPN as a means to discover a new found sense of levity and spirit during tumultuous times. The structure of Magic Oneohtrix Point Never “mOPN” itself loosely summons the broadcasting logic of radio dayparts, starting in the morning and ending overnight, latticed together with kaleidoscopic, twitchy transformations of sound between the dials. Lopatin has long been engaged with radio as a mode of aleatory listening. The now defunct “Beautiful Music” format popularized later as “easy listening” and “new age” are just one of the many colors heard on mOPN. Lopatin also collages together archival recordings of various American FM station’s “format flips”, in which detourned DJ sign-offs collide with advertisements and self help mantras to form darkly humorous reflections on American music culture. Magic Oneohtrix Point Never, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque-pop within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career. Oneohtrix Point Never has always been meticulous and evocative, from the deconstructed plunderphonics of Replica and R Plus Seven, to the alt rock and chamber pop songwriting of Garden Of Delete and Age Of, to the symphonic nature of his scores for Uncut Gems and Good Time, to his production work for other artists. Magic Oneohtrix Point Never synthesizes all elements of his previous material to craft a cohesive humanistic masterwork, rendering the self-titling of the album as much a reference to his roots as to his entrenchment in the present moment.