Back catalogue: Leftfield

Review: INDEX:Records founder and self-styled 'DJ and sound engineer' Conna Haraway finally makes his vinyl bow following a couple of low-key cassette and digital download releases. According to the Sydney-based imprint handling the release, Theory Therapy, the wonderfully titled Spatial Fix was partially inspired by the Glasgow-based artist's 2024 tour of Japan and South Korea. You can hear that in the subtly far eastern melodies and ambient techno style textures of ten-minute opener 'Freon', whose grooves would undoubtedly have impressed the late Andrew Weatherall, and the hushed, semi-abstract, deeply layered wonder of 'Switchback'. Elsewhere, the stretched-out, immersive and meditative '1702' joins the dots between low-tempo ambient techno and dub techno, while 'Patent' is deep, otherworldly and suitably sub-heavy mutant dancehall.

Review: Joe Hisaishi's latest release offers a compelling fusion of classical and cinematic music. The compositions, originally crafted for film soundtracks, are reimagined with orchestral arrangements that breathe new life into the pieces. The album showcases Hisaishi's signature style, blending emotive melodies with intricate orchestration. Listeners are treated to a rich auditory experience that highlights the depth and versatility of Hisaishi's work.

Review: Ensemble Modern and experimental, Berlin-based music composer and sound artist Hainbach come together for Primer, an album sourced from their 2022 Checkpoint concert and reworked in the studio with bassist Paul Cannon. The record transforms their fine live performance into a rich, immersive home listening experience with Hainbach's signature use of nuclear research gear, tape loops and vintage electronics weaving haunting, ever-shifting textures throughout. As such the pieces pulse with a sonic spark that captures the spirit of experimentation and collaboration and is taps into plenty of avant-garde thinking in its approach to drone and ambient.

Review: Big emotions often come in small, intimate packages. Initially at least. Judith Hamann opens her stunning contemporary classical-ambient meditation with the kind of hush that means music and sound creep over you without making themselves instantly known. Before we know it, the transformation - or, perhaps more accurately, transportation - is complete. Using field recording techniques, Hamman augments the electronic harmonies and refrains with au naturel noises, from the hubbub of distant conversation to an asthmatic's whistle, all of which places the plugged-in and synthesised in a very human place. The result is something that feels timeless, as crystalline and clear as it is water-weathered and sepia-hued. The overall affect is mysterious and adventurous, like walking down a serene empty beach only to realise you can't remember which direction you came from.

Review: Back in the depths of the global Coronavirus pandemic, Nick Hoppner and Alex Kassian decided to join forces to record an album, one that would set aside their club credentials and instead focus on their collective love of krautrock, ambient and 'guitar-driven music'. The result is The Big Melt, the duo's first missive as H.A.N.K. Beginning with the immersive, enveloping sound world that is 'Cruise' - a slow-build, effects-laden dreamscape that offers nods to classic Tangerine Dream, shoegaze and 1990s ambient electronica - the album bobs along attractively, with exotic rhythms and intoxicated electronics ('A Useful Fever') sitting side by side with shuffling Balearic instrumentals ('Azul's Garden'), kosmiche epics ('Jag Aar Jag'), sitar-laden wonders ('While My Tar Gently Weeps'), and analogue-rich nods to Neu!, Can and Dunkelziffer ('No Harm').

Review: El Hardwick's sophomore album, Process of Elimination, explores illness as a pathway to personal and anti-capitalist transformation. Rooted in their experience of chronic illness after years of pushing their body beyond its limits, the album reflects Hardwick's journey toward healing through mysticism and natural remedies. Turning away from the need for a formal diagnosis, Hardwick embraced a process of self-rewilding, rejecting capitalism and gender norms to reconnect with their body and the earth. Musically, Process of Elimination combines lush, dubby soundscapes with cosmic experimentation. Tracks like Dual feature sparse synthesiser tones alongside woodwinds and double bass, creating a spacious environment for Hardwick's spoken-word reflections. Collaborations with musicians such as Alex McKenzie and Laura Misch bring a range of organic textures to the album, enhancing its sense of natural exploration. The album shifts between ambient meditations and more rhythmic moments, with highlights like 'Quantology' and the IDM-tinged 'How Do I Know...?' revealing a balance between introspection and forward momentum. Hardwick's process is further mirrored in their personal journey of coming out as trans non-binary, which they describe as another form of elimination, moving beyond binary definitions. Ultimately, Process of Elimination is a powerful reflection on healing, acceptance and the reclaiming of energy, inspired by thinkers like Silvia Federici and Donna Haraway, and enriched by contributions from London-based artists and friends.

Review: Harlem, the Stockholm-based duo, return with an eight-track exploration of dark, pulsating electronics. Drawing on influences ranging from King Tubby's dub to Robert Hood's minimal techno, they craft a sound that defies easy categorisation. Echoing the no wave dissonance of early ESG and the industrial edge of Cabaret Voltaire, they fuse these disparate elements into a potent sonic cocktail. 'Shut Your Body' opens with a muscular intensity reminiscent of Nitzer Ebb, its driving rhythms and gritty textures setting the stage. 'Fantasy Scan' picks up the pace, a dancefloor-ready jam that recalls Underground Resistance's hypnotic grooves. 'Blow By Blow' channels a nihilistic energy, its sparse arrangement and spoken-word vocals evoking the cold wave sounds of Kas Product. The B-side continues the sonic exploration with 'Dummy Up', a track that evokes the frenetic energy of a cult gathering, its electro and body influences recalling the darker side of the 80s underground. 'Sleuth' takes a more introspective turn, its repetitive grind suggesting a relentless search for the unknown. 'Contact High' brings back the seductive energy, its dancefloor-ready rhythms and infectious melodies reminiscent of early Detroit techno. The album closes with 'Wiggle Walker', a melancholic track that suggests a journey into the unknown. Harlem's music is a thrilling ride through a landscape of sonic extremes, a sonic experience that is both exhilarating and unsettling. Visceral but thought-provoking, this is a potent blend of genres and influences that defies expectations.

Review: The Pom Poko (Original Soundtrack), now available on vinyl, offers an excellent blend of Japanese traditional music, samba, mambo, and more. Composed by Shang Shang Typhoon, the soundtrack beautifully complements Isao Takahata's 1994 Studio Ghibli film, Pom Poko. The movie, which explores the story of tanuki (raccoon dogs) fighting against urban development, is a whimsical yet poignant reflection on environmental themes and Japanese folklore. 'Itsudemo Dareka ga' brilliantly shows an example of the album's rich and evocative soundscape, merging lively rhythms with the film's emotional core. The diverse use of instruments creates a vibrant atmosphere, reflecting the tanuki's playful and mischievous spirit while blending moments of melancholy with the encroaching destruction of their forest home. This reissue marks 30 years since the film's release and provides a perfect soundtrack for fans of both Ghibli and world music. Experience this soundtrack that will transport you back to the magical world of Pom Poko.

Review: Russell Haswell brings Deep Time, marking his sixth release on Diagonal following a productive 2024, which included the 4x12" compilation 13, on top of a UK-wide tour. Deep Time spans a vast influential range, reflecting Haswell's diverse background in computer music, black metal, noise, techno, and improvisation. Deep Time explores all from geopolitical tension to the incomprehensible scale of time itself, drawing sublime inspiration from his solo trips to the Scottish Hebrides and the rock formations glimpsable there. Album highlight 'Unconformity' references James Hutton's geological discovery and its connection to the Earth's history, with typography for the album sleeve designed by MuirMcNeil.

Review: Diagonal celebrates its 13th anniversary with a 4x12" release, highlighting both long-time label artists and notable collaborators. LP1 kicks off with a dark, atmospheric remix of Russell Haswell's 'Heavy Handed Sunset' by Autechre, transforming their 2016 version into something more intense. Label boss Powell joins forces with Turner Prize winner Wolfgang Tillmans for a quirky pop experiment, while NHK and Viviankrist deliver moments of striking beauty. Russell Haswell's nod to Cybotron rounds out the set, embodying the boundary-pushing, eclectic spirit that Diagonal has championed for over a decade.

Review: Chihei Hatakeyama's Lucid Dreams is an ambient exploration that ebbs and flows like the tides it references. The opening 'Overflowing' sets the tone with gentle, cascading sounds that evoke a sense of quiet movement. 'Dance of the Ghosts' (feat Cucina Povera) adds a spectral quality, its ghostly vocals dissolving into the atmosphere. 'Three Dice' leans into meditative minimalism, creating a calm before the slight shift into the darker textures of 'End of Summer.' Tracks like 'Wind from the Mountains' (feat Nailah Hunter) introduce organic warmth, balancing out the release's ethereal tendencies.

Review: When it comes to hunting the very of best library music cuts out there, De Wolfe's discography is likely the best place to start, and finish. The British music production company were the first to license such music exclusively for film and TV and thus single-handedly popularised the now DJ's favourite genre. Here on this reissue, Aussie producer, musician and double bassist Johnny Hawksworth (one of two famous library musician "hawks", only once removed from the perhaps more eminent Alan Hawkshaw), prizes open both falcon's eyes and auriculars: 'Bite Hard Breaks', the star, makes for an unfathomably cool piece for the playing of seductive games. Unsurprisingly, but with this fact not known to many, this record has been much sampled by hip-hop titans, from Beyonce to Drake to Jay Z to Madlib.

Review: The original motion picture soundtrack for The Truck Turner delivers a thrilling blend of gritty funk, soul and high-energy jazz that perfectly complemented the 1974 blaxploitation classic. Composed by the great Isaac Hayes, the soundtrack is a dynamic showcase of his signature style that blends soulful melodies with intense orchestral arrangements. Tracks like 'Main Theme' and 'Breaking Into The Business' capture the raw energy and tension of the film while Hayes' deep voice and lush arrangements bring an added layer of sophistication to the score.

Review: South London's potent indie auteur Heartworms unveils her highly anticipated debut album here on Speedy Wunderground. It has been produced by longtime collaborator Dan Carey and fuses the driving, motorik energy of Depeche Mode with PJ Harvey's sharp lyrical prowess, and is finished off with the offbeat rhythms of dance-punk favourites LCD Soundsystem. The result is a dark, intense sonic assault that is unmistakably Heartworms in the way it blends gothic post-punk with unashamed emotion and relentless momentum. It once again proves why Heartworms is one of the most exciting new voices in alternative music.

Review: Canadian composer Hecker's movement into scoring for film and television has been a natural progression over the past 25 years and now the artist has perfectly aligned his sound with motion pictures and film. Perhaps not fully intentional by Tim but most fans point to him as an artist whose music evoke emotions that equal the power of what a film could create. Known for his transcendent soundscapes that push ambient music into unclassifiable realms, Hecker collects a series of compositions originally created for projects like Infinity Pool, The North Water, Luzifer and La Tour. While some pieces were left unused in the final productions, their standalone presentation here showcases Hecker's ability to evoke vivid atmospheres. The seven-track EP, released via Kranky, includes the hauntingly beautiful 'Sunset Key Melt', where celestial chimes echo amidst layered, dense melodies. It exemplifies Hecker's knack for crafting spacey, droning soundscapes. Meanwhile, 'Morning' begins as a delicate piano piece before unsettling feedback disrupts its serenity, blending traditional composition with experimental textures. Shards reflects a late-career revelation: Hecker's immersive sound design translates seamlessly to visual storytelling. His work on Arctic psycho-chiller The North Water and supernatural horror Luzifer underscores his ability to merge ice-cold atmospheres with emotional depth. This EP is both eerie and ethereal, showing why Hecker's style is so compelling.

Review: Over his 25-year career, this veteran composer has crafted transcendent soundscapes that resonate with cinematic depth, making his music a perfect fit for storytelling on screen. Shards, a seven-track album released via Kranky, compiles selections from scoring projects like Infinity Pool, The North Water, Luzifer and La Tour. Tim Hecker's journey into film and television scoring feels like a natural evolution of his artistic vision. The haunting 'Sunset Key Melt' features celestial tones and layered textures, creating a spacey ambiance that is sure to impress. In contrast, 'Morning' begins as a serene piano melody, disrupted by unsettling feedback that blurs the line between beauty and unease. Each track balances traditional composition with experimental sound design, resulting in a collection that is both eerie and enchanting. This album reveals how seamlessly Hecker's soundscapes translate to visual narratives and the warm, tactile vinyl experience just seems to underline that even further.

Review: Labyrinthe! stands as a singular achievement in Pierre Henry's illustrious career, showcasing his ability to craft music even when deprived of his usual sonic resources. The sounds for this piece were supplied by GRM collaborators, each bringing their own unique qualities and textures. Despite not being his own material, Henry's distinct voice and musical vision quickly come to the forefront. Through this intricate soundscape, Henry constructs a maze of audio, focusing intently on the development and manipulation of the sounds provided. His clarity of purpose and deliberate approach is evident throughout, as he shapes the contributions of others into something unmistakably his own. The piece is built upon the interplay of disparate elements, all meticulously woven together into a cohesive sonic journey. Henry described Labyrinthe! as a collaborative venture, a fusion of 58 sound fragments from seven different composers, forming a work that feels both expansive and tightly intertwined. His harmonic sensitivity ensures that the diverse sources never clash but instead create a complex, interlocking sound world. Labyrinthe! is a brilliant testament to Henry's mastery of electroacoustic composition and his remarkable ability to turn limitations into creative triumphs.

Review: While awaiting the release of her album Pripyat, Catalan composer and producer Marina Herlop found herself feeling emotionally unmoored and uncertain about her music career. During this period, she visualised herself as a gardener tending to her inner landscape by expelling negative emotions through purple weeds. This imagery became the foundation of this record which is filled with her warmest, most positive sentiments. With experimental touches still present, Herlop's voice shines with hope and energy while weaving intricate acoustic instrumentation and electronic elements. Nekkuja is a celebration of perseverance and creativity that blends abstract sounds with themes of growth, light and renewal.

Review: WRWTFWW Records is back with a third collaboration with Japanese electronic, ambient and synth-pop group Interior. This time they reissue a forgotten 1989 solo gem by band member Daisuke Hinata that very much deserves more spotlight. Tarzanland captures the essence of late-'80s California with sun-soaked kanky? ongaku, minimalistic proto-chillwave and breezy synth melodies all washing over you in delightful fashion. Its lush soundscapes evoke the likes of Steve Winwood and Steely Dan as it is infused with nostalgia and serene electronic sounds. They make for a blissful journey through simple pleasures, where ocean waves and warm breezes empty your mind of all but the nicest of thoughts.

Review: HNNY's long-awaited album Light Shines Through marks a serene return to electronic soundscapes, offering a delicate and introspective journey through ten tracks. After nearly a decade, the Swedish produceriknown for his minimalist, atmospheric productionsidelivers a record filled with soothing, vibrant compositions perfect for moments of quiet reflection. Moving away from the soulful samples of his debut, Light Shines Through focuses on ambient serenity. Tracks like 'Melody Electronics' and 'The Smallest Things' showcase a subtle blend of muted percussion, shimmering synths, and ethereal vocals, creating a tranquil listening experience. Even the more energetic moments, like 'All For You', maintain a chilled-out quality, with light rhythms and swirling melodies inviting calm. The album is concise but fully captivating, weaving tiny sonic worlds within its restrained runtime. HNNY's intricate yet understated approach makes it a perfect companion for study sessions or peaceful mornings. From the hypnotic repetition of the title track to the soft journey of 'Morning Trip', Light Shines Through is an endearing exploration of electronic simplicity and introspection.

Review: From what we understand about this record, Hualun band member MK had a hand in finishing what was clearly already a beautiful collection of instrumentals. Rubey Hu was polishing off the collection as China finally started emerging from what, from the outside at least, looked like a particularly brutal and unashamedly authoritarian response to the Covid-19 pandemic. A set of serene and incredibly relaxing, playful-leaning piano pieces, MK helped apply various effects and textures, which genuinely elevate what's here. Regardless, though, Rubey's musicianship is inescapable throughout. Eight tracks that feel as though heart and soul have been spilled across the ivories, with additional contributions from another Hualun head, Ding Mao. Really special stuff that will make you want to start exploring Chinese alternative music, if you weren't already.

Review: Trumpeter Chris Ryan Williams and cellist Lester St. Louis form HxH (H by H) are a boundary-pushing electroacoustic duo who work with acoustic instruments and electronics in real-time. Their debut album, released on KMRU's label OFNOT captures their expansive, sculptural sound, and it is one rooted in jazz, noise, classical and Black experimental traditions. Drawing comparisons to Sun Ra or Laurel Halo, their music is fluid, unpredictable and emotionally resonant. Tracks like 'Pyrex Vision' and 'BEACH' showcase a dynamic interplay between form and freedom and are influenced by visual artists like Torkwase Dyson. HxH's sonic world is both daring and intimate and is an ever-shifting architecture of sound.