Shake
5% Solution

It’s been twenty years since West London techno producer and Continual Records co-founder Tommy Gillard released his last solo record. He’s now back with a bang - and a pretty scary one at that.After spending large parts of the last decade in the studio with fellow UK techno veteran Oliver Ho (better known nowadays as Broken English Club) releasing work as Zov Zov on Ho’s Death & Leisure and the ever reliable Berceuse Heroique, Gillard now joins Interstellar Funk’s Artificial Dance roster as Curved Needle.Opening with the ominous and icey cold title track, Gillard makes it clear straight away he’s not here to make any new friends - he’s out for blood with six bone-rattling slo-mo post-electronic body music exercitions of the bleakest kind. Did anyone say ‘horrorwave’?An aggressive half-speed drum & bass-hoover (think Ed Rush & Optical anno 1997 sawn in half) underlays the dystopic yet blatantly brilliant electro nightmare that is ‘Change-Power’, before things get even more sinister on ‘Sworn in Blood’ and ‘The Blind Leading the Blind’.This may be a tad too slow and low to serve as your average dancefloor fodder, but it’s perfect torture room material. Now excuse me while I go mop up some blood. (RO)

Collected Pieces: 2015-2020 by Mary Lattimore

conatala · The Dead Goldfish Ensemble - Walking WallsInspired by Kraftwerk's "Autobahn," Southampton-based musician Steve Hartwell, aka The Dead Goldfish Ensemble, started to craft his own music in 1983 using sequencers and the MSX computer, which could be said as the first generation of home computers available for music production. Hartwell made a tremendous amount of recordings in his home studio until 1993, reflecting his take on minimalist music of Steve Reich and Philip Glass, it featured strange imaginative polyrhythms and friendly playful melodies that innocently bounce around.One circumstance that made this possible was the format of cassette tape publication. From the early 1980s to the early 1990s, it was the most inexpensive and easiest way to release works for independent labels and DIY musicians since it allowed them to dub copies at home, all within their production environment. Various labels in Europe, the United States, and Japan offered artists to contribute their works for compilations. As a result, a vast number of cassette tapes were produced around the world. Those releases eventually led the labels to help form some unique local music scenes and communities by connecting enthusiasts through personal contacts. Essentially, since they were international compilations, it contributed hugely to introducing unknown talented artists from each area to the rest of the world.Hartwell released several cassette tapes from his label Peeved Records and also contributed many tracks to multiple different compilations of home-produced music from labels such as Home Produkt (Belgium), Insane Music (Belgium), EE Tapes (Belgium), IRRE Tapes (Germany), Tonspur Tapes (Germany), and others.This record is The DGE's first album released in vinyl format, compiled from those releases from the cassette era.The cover design is by Yu Yokoyama, featuring the goldfish drawing by Hartwell himself. The sound is digitally mastered by Makoto Oshiro using the original master tape.conatala · The Dead Goldfish Ensemble - All The Hands

Produced and recorded by SJT playing with his 4 different friends in Berlin 2015-2017 and rearranged in 2019.Mastered By – Ronny PløsenLacquer Cut At – Dubplates & MasteringArtwork – Fett Burger

SKB04 by Skinnybones

Black Truffle is pleased to present Sylva Sylvarum, an epic new work from Ora Clementi, the collaborative project of crys cole and James Rushford. Primarily conceived and recorded over several months together in Melbourne, Sylva Sylvarum is a stunning step forward from the mumbled, creaking sound world of the duo’s debut, Cover You Will Softer Me (Penultimate Press, 2014). From the opening ‘Peach of Immortality’, which takes an unpredictable journey from layers of chiming bells, vocal harmonies and lush synth pads to a desolate landscape of half-animal, half-digital wooshes and cries, it is immediately clear that cole and Rushford are working here with an entirely unique sound palette. Throughout the record’s four sides, we hear a large array of carefully detailed synthesizer sounds (many of them recorded at the remarkable Melbourne Electronic Sound Studio), sparse drum machine hits, wind instruments and field recordings of animals, often with a twistedly late 80s/early 90s flavour that at various points calls up New Age references, Robert Ashley’s later operas or the thinned-out textures of early digital GRM.