Back catalogue: Leftfield

Review: BOOM! Our favourites, Cititrax, roll the third editions of Tracks out onto our shelves, and the results are unsurprisingly strong on this excellent various artists comp. It's a mixed bag of skills, as per usual, and the sounds are those of a new NYC, fuelled by a new sort of post-industrial sensibility. Amato Y Mariana open with the tight beats and groove of "Queires Bailar", followed closely by the ominous compositions of the EBM-flavoured "Montgat" from The Sixteen Steps. On the flip, His Dirty Secrets bleeps out some morphed acid on "Structures", and "Another Stranger" from Further Reductions churns out a slow, mild-mannered house experiment with its roots clearly planted in the coldest of waves. Sick.

Review: Sure Thing presents Well of Sand, its second compilation. Six tracks from the label's friends and favourites, each new to the roster, offer bold, untempered explorations of tempo and weight, a concise yet expansive collection recalling the deliberate cadence of rippling sand and the sheen of shimmering oases. From Command D's subtly groundswelling, but snappy 'Half Blue (Violet Mix)', to Foreign Material's alarmingly alien 'The Living Planet' and Third Space's supremely stereoized, lowercase opus 'Push (Part 2)', this is a release for that large intersection of audiophiles and techno-philes.

Review: Thanks to the eternally revered Minimal Wave imprint, out of NYC, Mark Phillips and Robert Lawrence's Five Times Of Dust project is going through a bit of a revival. The duo had first released some post-punk cassettes back in the 80s, and they clearly have not been forgotten. On this new remix EP, "Computer Bank" is given a makeover in the form of a The Floor remix, who proceeds to add all sorts of quirkiness over the tune's tough, heavy bass and driving rhythm; "Armoured Car" breaks the 4/4 in favour of something much closer to the band's original drum machine style. Once again, on the flip, we have a remix of "Like I Am, Comme Je Suis" by The Floor, who throws up a gnarly electro bass onto shady, neo-romantic vocals, and the whole things is finished off by "Imponative" from Unovodual and Tara Cross, who produce a slow, heady industrial groove for the dancefloor.

Review: Most of the time you expect Terence Fixmer to deliver a steely strain of techno which reliably moves monolithic crowds in any temple you care to mention, but on this album for Novamute he's purposefully opened his palette to the EBM and industrial sounds which sparked his imagination as a teenager. It's instantly apparent on the abrasive jackhammer sonics of opening track 'Test of the Times', while 'In Synthesis' comes on with the sort of tough but sexy arpeggios you'd readily associate with Nitzer Ebb or Front 242. There's still a dancefloor functionality in these tracks, but pure techno is not the order of the day, and the results are thrilling from start to finish.

Review: The first anyone heard from Robert Fleck was an early drop on Well Street back in 2018, and it's been quiet since then. Anyone following Well Street knows it's a hot tip for upfront artists in the fractured fissures of the UK underground, and Fleck makes a welcome return to prove the point. There's a lot of different touchstones you could point to on this release, from nimble-footed broken beat and a whiff of nu jazz orchestration, not to mention a bass music sensibility and an appreciation for deeper strains of UK techno. But more than all that, Fleck merges his unique spread of influences into something fresh and unique, comfortably slipping between conventional genre markings with the kind of flair we've come to expect from Well Street.

Review: Los Angeles-based The Black Lodge began as an intimate gathering place and ritual organised around exploring, sharing and experimenting with diverse forms of electronic music. This is the fourth collection of cuts from various artists of The Black Lodge multiverse. The Poetic Painter M, an alias of Nation chief Traxx, opens up the A-side with the dark late night acid of 'Elusive Clarity Of 1 Mind', followed by Pablo R Ruiz from Detroit providing the spooky lo-fi/sci-fi groove 'El Rey De Amor'. Over on the flip, Michigan's Fashion Flesh serves up a harsh experimental soundscape on 'Kisses' and closes with the tunnelling industrial funk of Fauna53's 'Jam1' (Asymmetrical weirdo orchestra edit).

Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.

Review: French musician Julienne Dessagne is behind Fantastic Twins and here presents a new album inspired by the Greek myth of Theseus and the Minotaur. Adapted from her composition for the dance piece Meandres, the record is a textural world of leftfield techno, kosmische influences and cinematic soundscapes across five tracks. Along the way, we're told the artist explores mythology and symbolism while drawing from opera, film scores and literary works. Her set up included modular synthesis and layered vocals which lend things a rather psychedelic edge next to the strikingly atmospheric synths and subtle sense of unpredictability.

Review: Before his work became reduced to a fine slither and he shifted into experimental, concept-driven realms, Jan Jelinek dropped some of the finest early doors micro house as Farben. Originally released on Klang Elektronik and now reissued by Jelinek's own Faitiche label, Textstar is a masterpiece of glitchy sample-based electronics with a subtle, implied funk. In some ways the sound has dated - it's very much of the late 90s-early 00s era it was first crafted in. But it's a sound that still engrosses and intrigues, reveling in microscopic detail and subdued moods while retaining a groove that comes through the best on eternally magnificent cut 'Beautone'.

Review: Lina Filipovich's Music for an imaginary dancefloor is an exploration of the boundary between club music and the abstract, guided by analogue synthesizers and a vivid imagination. Composed from improvisations between June and December 2022, the LP delves into ethereal realms with nervous energy and atmospheric textures that evoke imagery of surreal landscapes and otherworldly experiences. Unlike her previous works which focused on deconstructing existing sounds, Filipovich collaborates with the machines themselves in this album, allowing their aesthetics to intertwine with her creative vision. The result is a collection of tracks that pulse with intensity, drawing listeners into a dreamlike state where reality blurs with fantasy. The album's sonic landscape is rich with atonal drones and intricate delays, creating a sense of unease and wonderment. It's as if the music is speaking a language of spirits, beckoning listeners to explore the allure of the dark and the unknown. Miles Whittaker of Demdike Stare lends his mastering and additional mixing expertise to enhance the album's sonic depth, further immersing listeners in its hypnotic embrace. Overall, Music for an imaginary dancefloor is a stunning trip that defies traditional categorisation. It invites listeners to step into a realm where the boundaries of reality dissolve, leaving only the pulsating rhythms and haunting melodies to guide them through the darkness. Lina Filipovich's vision is realised with remarkable clarity and depth, making this album a standout release in the realm of experimental electronic music.

Review: Fluxion returns with a stunning full-length album that showcases his mastery of dub techno and chilled soundscapes. Opening with 'Life Motif', Haze begins with ambient textures that set a tranquil, atmospheric tone. 'Magenta' follows, delivering a hazy dub experience that channels island vibes, with deep, gentle chords that immerse the listener. 'Reflections' brings in deeper techno elements, with piano melodies riding over the rhythm to create a sophisticated, mature take on dub techno. 'Footsteps (Fluxion Rework)' is a poignant track, blending orchestral elements and church chimes, invoking a melancholic yet still, uplifting mood. 'Berlin' takes a turn into more traditional dub techno territory, featuring a deep bassline and club-ready vibe that remains true to Fluxion's roots. The album closes with 'Open Moves', a beautiful, emotional piece that blends classical influences with dub-influenced ambiance, leaving listeners with a sense of introspection and calm.Haze is a masterful exploration of dub techno's emotive potential, balancing deep rhythms, lush atmospheres and moving melodies. Fluxion proves once again why he remains a leading figure in the genre, seamlessly fusing elements of dub, techno and ambient like only he can.

Review: F.M. (Francois Marche) and Fa_Fane (Stephane Bodin) say they "perform live with an acid-tinged electro-dub set, a danceable balance between the organic and the digital, the hot and the cold." When it comes to the studio, the fine line they tread between machine and human, accessible and experimental is equally evident, making them sure fire winners in the world of movie soundtracks. Not least when the film is on the avant garde side of things, as Fotogenico is. Directed by Marcia Romano and Benoit Sabatier, the movie is a visually arresting, high tempo collage of a chase-mystery in which a father attempts to piece his dead daughter's story together using only the music she recorded. Glitchy, digi-dub and synthesised post punk ensues, among other stuff.