The Vegetable Kingdom is an extreme electronic music deconstructor, and he’s got a new track for you.

For those that aren’t familiar, Vegetable Kingdom typically makes tracks (a good many of which are found for free on his SoundCloud) that are heavily abstract and minimal in their elements. His songs are low on concurrently running parts and high on making those parts each play out together exactly. The result is a song-creation style based in rich and complex soundscapes that play on the idea of electronic music by breaking it down, which for some of us is a form of the genre that plays right into the kind-of intellectual and artistic edginess that, for all of its other good qualities, the poppier sides of the medium don’t generally have the capacity to reach.

The new track we’ve got for our listenin’ today is about as solid of a connection to more well-known and regularly structured stuff that The Vegetable Kingdom gets- a “remix” of Sufjan Stevens’ “Drawn to the Blood,” but you get those quotes because the VK version of the track warps the living fuck out of the original song. Vegetable Kingdom takes Sufjan’s melancholy indie prettiness and makes it into a heavy-hitting melodic electronic tune that’s overwhelming and badass for being so. It kind-of reminds me of the power in the darker, more complex hymns out there (I just heard a bunch at a funeral, so they’re on the mind), with both those and this track going for a really sensory attack and a mindset that’s all big, crashing, cosmic and dangerous.

This track is definitely from the school of remixing that produces an artist’s impression gathered from a song’s parts rather than a repackaging of the song; for instance, for a whole song fully of syllables (that Sufjan sure can stuff a song with words), the VK remix features just one small snippet of singing repeated infinitely over the wild and unhinged reworking of the instrumentals. Doing that with finesse enough to create a track that stands alone as a more abstract piece is hard, but The Vegetable Kingdom does just that with this entry. It’s good weird shit for sure, and music that is probably best experienced when talking isn’t going to happen for a while (Grade A thinking tunes), and we highly recommend that if you weren’t familiar with this artist’s music before and if you’re also into good weird shit, that you use this track as an introduction to a ferocious electronic artist.

Rough and lo-fi are alright by us here at The Deli, especially when that rawness is coupled with some appropriately weird composition. Apropos of that, here’s a new vid of retro oddness and lo-fi psych blues rock by Tom Florida & The Episodes for you out there who share our proclivity for the delicious strangeness that can come from those on the wacky lo-fi side of town. Tom’s music falls into that weird crack between genres where truly unique music is able to thrive like a flowering weed on the sidewalk, particularly playing around between the psych and electronic and folky genres, but really being all its own thing. Like many other iconoclastic acts, Tom Florida & The Episodes are obviously very familiar with their influencing sounds, but also a bit irreverent, and the resulting music is fun, freaky and far-out. We especially dig the 80s tech aesthetic in the band’s visuals and the electronic parts of their tracks (hear more at their Bandcamp here, where they have a new EP out as well), subjects that other psych bands often steer clear of, perhaps due to a misguided sense of trying to recreate the golden age of psych. You’ll get no such limits with Tom Florida and crew, who seem happy to stick just about anything they like from any genre or era into their work, which benefits from that freedom greatly. Put some weirdness in your eyes and ears below with “True,” y’all.

Here’s a voice from the singer-songwriter and folky sides of Austin’s musicsphere to watch. Hot Cotton is the name that local musician Eva Mueller’s solo work is released under, and after a couple tracks released a few years ago, Mueller is releasing Hot Cotton tracks again in spades on her SoundCloud page. Mueller’s work is emotional and resonates with undeniable authenticity, and sound-wise it lives somewhere around Jenny Lewis or Neko Case’s more pared-down, folskier stuff, perhaps a bit more bent away from country and toward the acoustic indie of the 90s (Neutral Milk Hotel etc.). Take a listen to one of our favorite tracks from the many Hot Cotton have just put out below, and if you like what you hear, keep tabs on Hot Cotton over at her FB page. From what we can tell, these tracks are just demos, which means there will probably be some other versions and/or more tracks coming soon, which can’t be anything but good news for those of you who dig smart, well-crafted revelatory music.

Austin’s all about the band, but damn do we have some ferociously strong solo acts here. One of those is the inimitable Eyelid Kid, who’s sometimes known in a more business-facing capacity as Paul Grant, record label manager at Raw Paw. Under the Kid moniker, Grant’s been slowly releasing stellar electronic pop content over the last year, and he’s just put out another lovely little track called “Open Up” for us to bop to.

“Open Up” plays in the same vein of themes as Eyelid Kid’s other so-far released tracks “Shadow Talk” and “On Your Mind,” presenting a portrait of a thoughtful, melancholy young man who carefully observes the world about him while he looks for happiness. Also true to form, Kid’s new track is shimmering and pretty and is a nice bit of electronic pop that’d be equally at home on the dance floor and coming through the car speakers on a good drive.

Grant has made it quite clear with the three Eyelid Kid tracks so far that he’s a musician that knows how to balance all parts of a song, giving aesthetics, structure and content each the attention to detail that they need, and the result is consistent and perfectly crafted pop music, which is just what you get with “Open Up.” Listen below, and keep an ear out for this kid. He knows what he’s doing.