Back catalogue: Leftfield

Review: A split release featuring two distinct yet complementary compositions by Francois J. Bonnet and Sarah Davachi. French composer Bonnet's 'Banshee' is a journey to the edges of the old world, where the boundaries between nature and human presence blur. Drawing on field recordings made in the Inner Hebrides, he weaves an aural tableau where the calls of seabirds intertwine with the mournful wail of the wind and the gentle lapping of water against the shore merges with the distant drone of a boat engine. The piece unfolds in seven interwoven movements, each capturing a different facet of the landscape's character. Meanwhile, Canadian artist Davachi's 'Basse Brevis' is a minimalist exploration of timbre, space and duration. Through subtle shifts in texture and harmony, Davachi creates a work that is both precise and evocative, its slowly evolving soundscapes inviting deep listening and contemplation. The piece's restrained yet poignant character creates a gentle tension, blurring the lines between instrumental and concrete approaches to sound. A compelling example of the power of sound to evoke place and emotion, offering two distinct yet complementary perspectives on the relationship between humans and the natural world.

Review: Renowned German electronic music pioneer Klaus Schulze enjoyed a lengthy touring spate after the release of his 1977 album opener 'Velvet Voyage'. Made up of synth chimes in sequence - icicling cycles - the Mirage frontispiece served to irreversibly weld the idea of the "voyage", and connotations of "journeying" to Schulze's music as popularly imagined. Later in 1981, Bon Voyage would take form: this was a closing tour performance at the Hamburg Audimax concert hall, concluding a two-week tour through Germany, the Netherlands, Belgium, Luxembourg, Switzerland and France. One of many bonnie voyages undertaken by Schulze in his lifetime, it would nonetheless prove unforgettable and salient among them; from 'The Journey Begins' through to the templar titillations of the three-part 'Bon Temple' and the ex-sanguine 'Moulin Bleu', this is a live synthetic forget-me-not.

Review: Deep Valley is a new collaborative work by Australian artists Seaworthy aka Cameron Webb and Matt Rosner and they came together for it during a week-long residency at Bundanon Art Museum in New South Wales. The property which was gifted to the Australian public by artists Arthur and Yvonne Boyd in the 1990s offers a unique landscape along the Shoalhaven River and is surrounded by sandstone cliffs and diverse wildlife. Drawing inspiration from Boyd's belief that "you can't own a landscape," Deep Valley combines the inspiration of that setting with environmental recordings, guitars, piano, and electronic processing all of which aim to highlight the transient nature of ecosystems and encourage you to reconnect with the sounds of nature.

Review: Ben Shirken's first self-titled release as Ex Wiish is a haunting work of digital archaeology. Created with close collaborators including Pavel Milyakov, MIZU and Dorothy Carlos, H.D. Reliquary blends trumpet, violin and modular synths into a fragmented, post-human soundscape that will send shivers down your spine. Inspired by the idea of a hard drive as a sacred archive, Shirken filters live recordings through neural networks and cooks up ghostly echoes of imagined sessions. The result is raw, contemplative ambient with a host of guests all adding to the evocative, filmic nature of these otherworldly soundscapes.

Review: Psychonauts, brace yourselves... A reissue of the classic track by artist Spacetime Continuum and ethnobotanist Terrence McKenna is upon us. The six-track EP 'Alien Dreamtime' was first released on Astralwerks in 1993, and came as the first ever release by Jonah Sharp, who played an instrumental hand in pioneering the sample-use of spiritually-enhancing spoken word segments as preludes to magnanimous, ambient electronica tracks. McKenna himself is credited as a collaborator; this EP documents the moment Sharp teamed up with the entheogenic pundit, alongside fellow didgeridoo player Stephen Kent, for an hour-long spoken word rave live in the psycho-breaks capital, San Francisco. "For your edification", McKenna intones and then continues, "the psilocybin mushroom is the catalyst of human evolution and language..." as the wildest possible atmospheric forms of take shape on the highlight dance-scapes 'Transient Generator' and McKenna's glossolalic 'Speaking In Tongues'.

Review: For their new album Lust 1, Voice Actor's Noa Kurzweil joins Welsh producer Squu for a woozy, intimate exploration of ambient sensuality. Following the sprawling Sent From My Telephone, this 45-minute work feels more focused but just as dreamlike with Kurzweil's hushed, often unintelligible vocals hovering over Squu's glowing pads and dubby pulses. With additional glitchy textures, soft hits and melancholic drones, the work forms a world that teeters between erotic hypnosis and emotional exhaustion. Highlights like 'You' and 'Nekk' blend vague ambience with jolting detail while pushing the sung-spoke-whispered words to the brink of abstraction. This is an album rich in fleeting emotions, tactile textures and forgotten memories.