Back catalogue: Leftfield

Review: While he may well be best-known for his nostalgic, synthesiser-powered Warrington-Runcorn New Town Development Plan project, Gordon Chapman-Fox has also put out some fine music under his given name - not least 2023's ambient opus on Castles In Space's 'Subscription Library' offshoot. On Very Quiet Music To Be Played Very Loudly, Chapman-Fox delivers four expansive ambient soundscapes. He sets the tone with the Vangelis-esque synth suspense and spacey creep of 'Components', before opting for sustained, almost neo-classical sweeps and delay-laden electronic string sounds on 'Fringe'. 'Emphasis' is immersive and quietly picturesque, while closing cut 'Singular' is dark, moody and quietly paganistic - a kind of imaginary soundtrack to a 21st century folk-horror movie.

Review: Ambre Ciel is a Montreal-based composer and singer known for her dreamy, spacious soundscapes. Drawing from impressionism, American minimalism and contemporary classical music, her work blends layered violins, piano and ethereal vocals in both English and French so is a sophisticated and stylish sound. Coming from a family of artists, she began with violin at six, later experimenting with pedals, loops and harmonies. Her debut album Still, There is the Sea marks a delicate yet bold entry into her sonic world and is a deeply personal, atmospheric journey shaped by strings, acoustic textures and voice. It's an imperfect beginning, as she calls it, but one brimming with intention and beauty.

Review: This new collaboration between Swedish producer Civilistjavel! and Lebanese artist Mayssa Jallad is both a conceptual inversion and a sonic ghost of Jallad's original record. Refracting material from her Beirut-focused album through sparse dub techno, Civilistjavel! transforms narrative-rich compositions into abstract, often beatless forms where Mayssa's voice floats disembodied in a fog of delay and reverb. Tracks like 'Baynana (Version)' and 'Holiday Inn (March 21 to 29) (Version)' feel haunted by memory, with structure hinted at but rarely resolved. It's a remarkable shift in context, but one that remains emotionally aligned. Civilistjavel!'s production avoids spectacle in favour of slow erosionivocal fragments hover, dissolve, re-emerge. Even more rhythmic moments like 'Kharita (Dub)' maintain an eerie restraint, built on slippery grooves and shimmering decay. Both artists are working far from their geographic homesiMayssa in Boston, Tomas in Uppsalaibut the result sounds uncannily unified. It's a record that holds grief and beauty in the same hand, illuminating the quiet force of Mayssa's voice and Civilistjavel!'s deft minimalism. Not so much a remix album as a parallel reality: austere, spectral, and deeply moving.