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: 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: Reissued over two decades since its original release, the second full-length from Liverpool's Ladytron still thrums with the same sharp-edged futurism that made it such a cult touchpoint. Tracks like 'Seventeen' and 'Evil' captured a tension between robotic detachment and raw emotional charge, anchored in the band's icy synth palette and minimal, deadpan vocals. While 'Blue Jeans' flirts with glammy melancholy, 'Turn It On' and 'Fire' dial up the menace, tapping into something more volatile. There's something surgical about the sequencing tooi'Cracked LCD', 'NuHorizons' and 'Cease2exist' stretch into more abstract terrain, before folding back into hook-laced electro-pop with the closing title track and 'The Reason'. With Daniel Hunt and Mickey Petralia co-producing, the album took shape in Los Angeles but never lost the European chill that defined their sound. It's a record that helped redraw the map for synth-pop in the early 2000sineither retro-futurist pastiche nor pure nostalgia, but something sleek, cinematic and entirely their own.

Review: New York artist Aaron Landsman and former Swans guitarist Norman Westberg kept vigilant watch with Night Keeper, a full nocturne named after Landsman's play of the same name. First performed in Spring 2023 at The Chocolate Factory Theater in Queens, with performer Jehan O. Young serving as narrative steward, the original piece filled the space with spoken word, projections, choreography, and music, moving between dim light and darkness. Now the recorded version posterises the performance, as Westberg's original texture-scapes come raggedly coiled around sombre loops and samples, as Young's laryngeal monologues course across the record's rough 44 minutes worth of gloaming. Inspired by sleepless nights and the wandering of the mind, Night Keeper lifts the lid on the wee small hours as would a well camouflaged nightjar, inviting listeners to embrace the subdued chaos of the dark.

Review: .Oh wow. Brussels-based Maloca label boss Le Motel has created something really beautiful here. Utilising musique concrete principles, and a renowned ear for pianos and contemporary classical, experimental electronica, ambient and the like, Odd Numbers / S? L? is an odyssey in all senses of the word. Made from time on roads less traveled and the people and places encountered en route, it also feels like an aural adventure in its own right. Catalysed by time spent in Vietnam, arriving into the sprawling colonial districts of Hanoi, then venturing out to Hmong communities in mountainous areas close to the Chinese border, those he met and engaged with have been directly involved in the final album here - making this a vast exercise in collaboration. Noisy kitchens, quiet fields, personal conversations, the laughter of a village square on a weekend morning, meet beats, bass, heavy future cuts, serenity, and bliss. 1000% yes.

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: .The last time we fell in love with Kedr Livansky it was October 2021 and the world was looking up. Lockdowns were over, and Liminal Soul brought us a celebratory embrace rooted in dance music and post-club night warmth. "Trance-tipped, heart-on-sleeve dance music that's never shy and still always chilled out enough to sit back and contemplate," we said at the time. Myrtus Myth is a very different thing altogether, but thankfully feels no less optimistic. Definitely sitting closer to pop, a kind of soft-yacht-rock, electronic-jazz-chill, and beach bar downtempo compared with the dance floors we were so keen to revisit three years ago, a few things have survived - all of them wonderful deep. Another stunner, to put all that another way.

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.