Back catalogue: Leftfield

Review: Claude Lelouch's 1966 romantic drama, translated into English as A Man and A Woman, is simultaneously filled with hope and tragedy. It's a passionate story but not one without warnings and lessons about the challenges of getting over loss and learning to trust again. It was also a huge success at the time of its release, grossing $14million at the US box office, which was big bucks back then for a foreign language movie. As the title suggests, the plot follows two single parents - he and she - who lost their spouses in horrible circumstances, namely suicide and an accident, and set about building new lives for themselves, which then cross paths. To complement this, French composer Francis Albert Lai created a sexy, playful, but highly emotional score, which ranges from heartfelt songs to jazz cool and laidback rock 'n' roll.

Review: The original Bridgit Mendler soundtrack to the citrine teen drama movie of the same name sees a full version on vinyl LP this spring. Notable not only for its inclusion in the contemporary musical film, but also for its chart-topping success, the ten songs that make up the many acts of this high-school drama were destined to charm the pubescent masses, coinciding with the film's overarching theme of the school's students transcending use of after-school detention to musical effect, in order to overcome their personal struggles. Imagine Glee meets The Breakfast Club; a cabal of songwriters including Ali Dee, Maria Christensen, Bryan Todd and Jeannie Lurie lay down an array of sure-to-be hits for Mendler to perform on behalf of the cast here.

Review: Emilie Levienaise-Farrouch's All of Us Strangers soundtrack is a superb trip through plenty of highly atmospheric landscapes that blend delicate piano melodies with haunting electronic textures. Each track paints a vivid portrait, evoking a sense of introspection and emotional depth that only heightens the scenes in the movie. Levienaise-Farrouch's narrative captivates and guides the audience through a range of moods from tranquil introspection to moments of poignant intensity, and as such this soundtrack showcases her exceptional talent for composition and storytelling.

Review: Known for their acclaimed renditions of film scores and soundtracks, London Music Works are now set to unveil their latest undertaking: The Essential Games Music Collection. Delivering precisely what it says on the tin, the collection features bombastic, swelling orchestral arrangements of musical highpoints from some of the most highly regarded videogames of all time. Transcending consoles and eras, the troupe cover everything from Nintendo classics such as Super Mario Bros. and The Legend Of Zelda, to more modern first-person-shooters Call Of Duty and Gears Of War, to iconic third-person triple A titles like Uncharted, Metal Gear Solid and The Last Of Us.

Review: High-kicking, nunchaking, pizza-eating, wise-cracking green dudes incoming. The barnstorming success of Teenage Mutant Ninja Turtles: Shredder's Revenge isn't hard to surmise. The original cartoon itself is a joyous, goofy, good time slice of late 80s / early 90s pop culture, and the modern video game knew exactly how to capture that energy and port it into a highly addictive beat 'em up. The soundtrack is pitched bang on for the occasion as well, running the gamut from electro and funk to jazz, all rendered with that classic chip tune finish. But that's not all - the team also invited a dizzying cast of guests to lend their voices to this project, from Raekwon and Ghostface Killah to Mike Patton and more. To put it another way, it's totally far out.

Review: Formerly known as Non-Human Persons, NNHMN (or Non-Human) are a duo from Berlin who sound every bit like stereotypes of synth-twiddling tag teams from the German capital. Which is no disrespect, more to celebrate how long the city has been known for embracing noises plucked straight from the future, and then combining those with mechanical hyper-emotion. Androids or not, on Deception Island Part 1 NNHMN show off deft skills at creating strangely sensual and sexual soundscapes from plugged-in things, offering up five stand out tunes that straddle club scenes and twisted romances, or obsessions, each perfectly poised to move bodies while also enveloping us in mysterious atmospheres thick enough to drown in. It's dark, (predominantly) driving, epic and alluring - the art of sinister seduction, to put all that another way.

Review: Let's face it, Hollywood director Christopher Nolan broke the mould with his re-envisioning of Batman. Taking things closer to the original comic books, themselves forced to 'go soft' by censors in the early-1950s, his films payed direct tribute to the saga's direction from the mid-1970s onwards. A trilogy of movies that were visually arresting, tonally dystopian, and viciously unhinged. It's not clear if we'll ever get a superhero (or anti-hero) film series of that class and calibre again, the world on screen so immersive you quickly feel like a Gotham native. A big part of that universe-building comes through the music, which enlists two of the greatest names in the history of soundtracks to help weave the tales. Hans Zimmer has composed for more than 150 films, James Newton Howard in excess of 100. This compilation of their shared caped crusader efforts proves why they're so well respected.