Back catalogue: Leftfield

Review: French electronic icon Laurent Garnier returns with the FABRICLG4 EP to celebrate the 25th anniversary of London's legendary club. This release showcases Garnier's signature range and opens with 'Playing with the Low-End,' a fierce 2-step track that nods to the heritage of UK club sounds. The journey then shifts to techno with 'Resonances from the D' barrelling along with great force and then on the flip side, 'Odyssee Maison' features deep house grooves with Dan Diamond and last but not least 'On the Way Home' rounds out the experience with ambient sounds. This one comes with "augmented reality artwork" by Atelier 14 and is another doozy from the already untouchable Garnier.

Review: Following the success of last year's Walks, Group Listening returns with a new 12" for PRAH Recordings. The title and artwork both explore themes of decay, expiration and musical renewal and the music was in part inspired by a small DIY festival in Bristol. Paul Jones explains the title represents a radical, open call for change while 'Tell Everyone Everything' is a layered, intense synth soundscape with destined pads and nimble chords that lock you in the here and now. The release also features remixes by Ancient Plastix and Loggsplitter who bring sub-aquatic dub and mind-melting rhythmic intricacies.

Review: A record that explores deep, hypnotic rhythms with a strong tribal and mystical undercurrent, the latest Siamese Twins records pushes the boundaries of what is possibly in eastern influences underground techno. Side-1 opens with 'The Golden Triangle', an atmospheric introduction that feels cinematic, setting the stage with ambient textures before giving way to movement. 'Lens of Time' follows, locking into a deep, primal groove where rolling percussion and rich low-end create an entrancing effect. On Side-2 'Mekong' leans into tribal mysticism, blending ancient rhythmic patterns with a modern pulse. The production is detailed yet raw, drawing from rich percussive layers. 'Ruak' closes the EP with pulsating bass and deep, rolling rhythms, channeling Eastern influences into a hypnotic techno flow. A powerful release from Siamese Twins Records, driven by Sunju Hargun's distinct vision.

Review: CyberindustrialEBMwavepost-punkIDMmutantelectro. No commas, no punctuation, just one throbbing, convulsing, dystopian mass informed by the bleakest visions of a sci-fi future we deserve but definitely don't want. Originally hailing from Australia, but long-since relocating to Berlin's eastern ends, Kristian Bahoudian, AKA Kris Baha, has clearly absorbed his surrounds, grown through them, and learnt how to channel that brutalism into something truly potent. It's also narratively driven, with the titular spirits in the system a reference to humans in the age of advanced artificial intelligence - beholden to dictatorial codes that rob us of our essence, vitality and individuality. An awakening among a select few means a small number of people become self-aware, again, and can begin pushing back. And this point of tension, between human and machine, plays out sonically. Talk about painting a vivid picture.

Review: Wolfgang Voigt's groundbreaking project Gas returns with a definitive reissue of its self-titled debut album, originally released in 1996 on Mille Plateaux and now reintroduced by Kompakt on CD format. This release marks a long-awaited return to the foundational essence of Gas, as initially envisioned by Voigt. Gas unfolds across six expansive, untitled tracks that drift seamlessly, each a captivating journey of ethereal loops and rhythmic undercurrents. Distant echoes of classical motifs add to the album's enigmatic allure. This debut stands out for its airy, evocative atmosphere and its exploratory nature. Gas not only revisits a pivotal moment in electronic music history but also underscores Voigt's enduring influence and avant-garde spirit, setting the stage for the techno and ambient genres to unfold from his influence. There is quite nothing like the first four Gas albums.

Review: Wolfgang Voigt's seminal project Gas returns with a definitive reissue of its eponymous debut album, originally released in 1996 on Mille Plateaux and now presented anew by Kompakt on a lavish 3x12 vinyl set. This release marks a long-awaited return to the pure essence of Gas, as initially envisioned by Voigt. Before this full-length debut, hints of Gas's distinctive sound surfaced through early EPs and compilation tracks, showcasing Voigt's knack for ambient electronic landscapes. Gas unfolds across six expansive, untitled tracks that drift seamlessly, each a mesmerising journey of ethereal loops and rhythmic undercurrents. Voices from distant classical motifs echo faintly, adding to the album's enigmatic allure. While later albums like Zauberberg and Konigsforst would refine and deepen the Gas aesthetic, this debut stands out for its airy, evocative mood and its more fluid, exploratory nature. It captures Gas at a moment of artistic genesis, where Voigt's sonic vision begins to crystallise amidst dreamlike textures and subtle rhythmic structures. Gas, in its reissued form, not only revisits a pivotal moment in electronic music history but also serves as a testament to Voigt's enduring influence and avant-garde spirit, setting the stage for its legendary successors.

Review: Gesaffelstein's fourth album, GAMMA, marks a departure from his previous work, embracing camp over cool. With influences ranging from seventies electro-punk to synth-pop, the album is a riot of overdriven synth-pop and vintage rock'n'roll. Singer Yan Wagner's oily baritone adds depth, channeling Dave Gahan's toughness with a humorous twist. The album's eccentricity shines through in Wagner's deranged lyrics and unpredictable delivery, injecting humor and unpredictability into the mix. Tracks like 'The Urge' and 'Hysteria' showcase Gesaffelstein's knack for crafting sharp hooks and infectious grooves. Clocking in at concise lengths, each track contributes to the album's charm, focusing on thrusting hips and sharpened hooks rather than lofty concepts. GAMMA is a refreshing departure from Gesaffelstein's previous sound and a exciting new direction.