Back catalogue: Leftfield

Review: Rindert Lammers' debut LP is a kaleidoscopic suite in five movements; pelican wingspans of twinkly, retentive but then also generous jazztronica, centring on two distinct themes: Japanese cinema and YouTube confessions. Japanese culture is seen through a grateful lens, as theatrical titans such as Kirin Kiki are homaged; the B1 especially is inspired by a poignant moment in the actor's portrayal of Hatsue Shibata in the 2018 film Shoplifters. Seemingly firstly inconsequential digital traces are lent an upscale gravitas, meanwhile, as a voice clip from a YouTube comment on an algorithmically boosted Hiroshi Yoshimura video evolves into the ride-embellished upswell 'Thank You Hiroshi Yoshimura'. Mastering the art of appreciation from afar, Lammers brings a mood of gobsmacked reverence for Japanese enviro jazz and its offshoots, suspending us over an endless realm of forms circa 1989.

Review: Pierre Bastien has a strong team record of interesting collaborations. He's done stuff with fashion designer and scent mogul Issey Miyake, legendary singer and composer Robert Wyatt, and the enigmatic electronic producer and reality-shifter Aphex Twin, releasing no less than three full length records on the latter's landmark label, Rephlex. "A mad musical scientist", the Guardian once quipped, and C(or)N(e)T doesn't break from that tradition. Instead, it offers some of the most abstract and strange, beguiling and fascinating sounds we've heard in a while. At least a few of which have been made on self-made, bespoke pieces of equipment. At a push, you might label this jazz, for the simple fact it's so free-form and avant-garde. Realistically, though, it sounds like the noises that might happen if someone attempted to tame a pack of rogue electronic hubbub-chatting things in a vaguely structured way. "Thank fuck for Pierre Bastien", the Quietus once said. We happily concur.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Not just a clever name, At Issue takes its title from the Brooklyn venue this incredible album was recorded in, namely Issue Project Room. For those who don't recognise the musicians involved, Kim Gordon is an icon of discordant, white noise-y rock 'n' roll, best known as a member of Sonic Youth - one of the most iconic guitar acts to emerge in the 1980s.

That might be a red herring in this context, though, because at the New York address in question Gordon was joined by legendary blues minimalist maestro, Loren Connors. The result is a hybrid work that's patient, sophisticated, utterly mesmerising and - for want of a better, less fawning word - close to perfection. Profoundly moving, and masterfully arranged, we guarantee this is one for the lifetime honours list.

Review: Whitney Johnson and Lia Kohl's debut album has evolved over several years. Its roots lay in their shared practice of free improvisation on viola and cello and flourished into a unique neophonic orchestral expression. That makes For Translucence both stimulating and soothing - a very alive form of musical meditation where layers of acoustic strings, wispy synths, evocative field recordings and radio and sine waves intertwine and grow while mesmerising you even more. Though always moving and shapeshifting the effect is cathartic as a fine balance is struck between experimentation and cohesion and the organic and the electronic.

Review: Ledley is an album of immersive, improvised electroacoustic music by Raph Clarkson who plays trombone and takes care of FX while Chris Williams is on saxophone and Riaan Vosloo on electronics and post-production. It is their debut release and it pays tribute to legendary Spurs footballer Ledley King by drawing on the atmospheric sounds of North European ambient music and layering in deep references to Tottenham, with tracks like 'Seven Sisters Road' and 'Lordship Lane.' The album explores the intersection of improv and football fandom while, we're told, expressing the themes of community, struggle and resilience. With intricate, evolving soundscapes, this is a profound meditation on football.

Review: Berlin-based Sydneysider LOGIC1000 (real name Samantha Poulter) enjoyed a prolific and productive 2024, becoming something of an in-demand DJ, producer and remixer on the back of her acclaimed debut album Mother, a typically distinctive affair that pulled deep house in a variety of woozy, melodious and inventive new directions. Her inclusion in K7's long-running DJ Kicks series is therefore well-earned. It offers a home listening-ready distillation of her sound that's notably 'calmer' (in the label's words) than her club sets. But that's no bad thing, as it allows greater exploration of experimental, downtempo and hyper-pop, alongside a string of exclusives (including the obligatory track created for the series) and some heady, mid-tempo dancefloor grooves.

Review: After a whirlwind year - releasing her acclaimed debut Mother, touring globally, remixing Dua Lipa and launching a podcast - Logic1000 (Samantha Poulter) now marks herself out from the other DJ-Kicks entrants with a unique approach to the vinyl LP-mix form. Seeking calm amid the chaos, she curates a deeply personal mix reflecting her home life, morning rituals, and evolving sonic palette, coursing through neo-ambient textures, dub-infused post-2020 downtempo, and NY-feel golden hours. Exclusive tracks from close friends DJ Plead and Big Ever blend seamlessly, while Poulter herself contributes two originals: 'Fused', most notably, pinches the ears with its distilled +12 vocal repitchings and a tropical flow. Poulter embraces a softer, contemplative side here, her mix emphasising subtlety in a series otherwise often besieged by artists seeking to stand out with techno-schlocks of loudness and rapidity.

Review: On her debut full-length, Istanbul-born, Amsterdam-based Loradeniz channels heartbreak into radiant ambient soundscapes. By layering up shimmering synth arpeggios, soft percussion and beautifully delicate and ethereal vocals, the album glides between a sense of emotional fragility and rousing sonic strength. Written, performed and produced entirely by Deniz Omeroglu, the artist's classical training and sound design expertise shines through on tracks like 'Cloud Sofa' and 'Sea Serpent' which balance intimacy with IDM-inspired textures, while closer 'Aftersun' glows with that quiet sense of sunrise euphoria. Sun Shone is a deeply personal and emotionally rich journey with plenty of reference points for us all amongst the melancholy and subsequent notes of catharsis.