Back catalogue: Leftfield

Review: So what happens when a European post-punk outfit meets an American 'ambient country ensemble'? The answer: A Nanocluster. In fact, three. This being the third. Immersion first met SUSS in September 2021, and the results were mesmerising. Three years on and the impact was no less staggering. Originally landing in September 2024, part tres takes us into the kind of musical places we're used to finding Spiritualized or Mogwai, and even then the references are misleading. For as many times as Nanocluster Vol. 3 sucks us into a thick soup of ambient and atmosphere, inviting us to get lost in opiate cloud formations, it also asks us to jump on board a stream train of rolling and driving rhythms, juggernauts gathering depth and complexity as they forge ahead. A stunning collection of highly evocative and incredible musical instrumentals.

Review: Kaoru Inoue's latest EP continues the journey of his acclaimed long player Dedicated to the Island, which was recently released for Record Store Day 2024. This six-track sequel features a series of self-reworked tracks from the LP, a first-time vinyl release and previously unreleased material as well as a remix by Argentina's SidiRum, who is a leading tastemaker in the tribal and slower house scenes. True to its title, the EP emphasises enhanced rhythmic elements and delivers a blend of organic, left-field electronic sounds. Inoue's talent for crafting atmospheric, innovative sounds will only improve with this superb 12".

Review: Few producers in the Nigerian capital, if any, sound like Ibukun Sunday. Marrying West African tones with Western ambient sensibilities and form, on Harmony Balance the juxtaposition between the two is perfectly measured. Not just a nice album title, then. Partly based on the ideas of Swami and Hare Krishna founder A.C. Bhaktivedanta, and particularly his work Bhagavad-Gita (English: As It Is), which focuses on the duality of human nature and existence, according to the notes we have this plays out as a tension between arrogance, envy, and the pursuit of power versus self control, humanity and devotion to others. Less conceptually, the album is just really, really nice, a soothing embrace that sounds mournful, hopeful, optimistic, and reflective all at once.

Review: Spanish producer Nueen and Manchester vocalist and rapper Iceboy Violet, who you might well recognised from appearing on Hyperdub releases by the likes of aya and Loraine James, come together for a collaborative work that follows the story of a four-year-long relationship. As you can imagine, therefore, it takes in peaks and troughs, emotional highs, depressive lows, and plenty in between that will all feel all too familiar to anyone who has ever fallen in and out of love. Drill-laced beats are laced with intimate melodies, and excitable chords spiral out of control while a menacing ambience percolates up from below. It's a powerful listen with a relatable narrative.

Review: Onsen Music isn't just the title of Shoko Igarashi's second album, but rather a manifesto of sorts. The name refers to a "genre" of music the saxophonist, flautist, and vocalist has created. A strange, bouncy-yet-angular corner of the electronic music universe that feels like it's inviting you to a party thrown by Mr Soft and a flying unicorn. Sounds extend themselves, curve, wobble, warp, float, glitter, and do everything else in their power to make sure you know this is a safe listening space that's equally danceable. Ever bubbly and colourful, 'Rainy' represents the full blown nu disco end of the record's vast spectrum, while the likes of 'Ukigusa' come over far closer to Ryuichi Sakamoto's clean, crisp and cuddly pop excursions - staunchly leftfield and out there, but strangely familiar and universally likeable.

Review: Iglooghost's third studio album marks a departure from the intricate world-building of previous works, embracing a sonic maximalism that pulses with chaotic energy. The Irish producer seamlessly blends IDM, techno, deconstructed club and grime, creating a whirlwind of sound that never overwhelms thanks to his meticulous layering and dynamic composition. Tracks like 'Alloy Flea' and 'Pulse Angel' showcase Malliagh's ability to keep the music clear and coherent, even as he adds element after element. His voice, more prominent here than on past projects, takes on new dimensions, from distorted static in 'Coral Mimic' to ethereal contrasts with female vocals on 'flux•Cocoon'. The album's production is dynamic, with a textured, weighty sound that contrasts with the clutter of earlier works. While the relentless intensity of some tracks might seem predictable, Malliagh's ability to craft tangible build and release ensures each moment feels intentional. The result is an intense experience, one that finds Iglooghost maturing as an artist without losing his experimental edge. This album presents a refined sound, rich in texture, rhythm and conceptual depth, solidifying Malliagh as an electronic innovator with endless potential.

Review: Immersion is the epitome of collaboration. Comprising Colin Newman, of legendary UK post punk outfit Wire, and his life partner Malka Spigel, the two first came together in 1985, former producing the latter's band, and have since fallen in love and combined creative forces countless times. Growing out of their Immersion project, a series of pop up gigs took place at the Rosehill, Brighton, with a cast of influential and cutting edge musicians getting involved. Songs were written and rehearsed before each show, and an album, Nanocluster Vol.1, soon materialised. Now we have the follow up. Disc one is centred on Thor Harris, percussion doyen of Swans, while the second half refocuses our attention on Cubzoa, AKA Jack Wolter of Penelope Isles, with Matt Schulz (Holy Fuck) also involved. The result is a psyche-tinged ride through swaggering indie, dream pop, chill, and surreal rock, nodding to names from Beta Band to King of Woolworths and beyond.

Review: Simon Huxtable's alias Inhmost returns to Tonight's Dream Records with a new album, Breaks & Dreams, a continuation of his 2022 release Space & Awareness. Playing on the trend of atmospheric breaks that has risen in popularity over the last decade or so, Huxtable nonetheless pushes the boundaries of the sound, his latest eight offerings providing ample glimpses into the complex structures behind our fascination with this beatified genre. Opener 'Light Haze' is a hypnagogic one, its oceanic feeling marred by a decided swing pattern in the break line itself, suggesting an essential imperfection even in the amniotic returns to oneness so suggested in this kind of music heard elsewhere. The albums steers itself in an ever-more immersive direction by the time it reaches the B-side too, with 'Signs From The East' treating its great washy ambiences like against-the-wind zephyrs against which we cannot fight and to which we must give ourselves over.

Review: Beyond A Moonless Night, a collaboration between Simon Huxtable's Inhmost project and Pierre Nesi's Owl alias, epitomizes chillout bliss. Highlights include 'Autumnal Dew,' a picturesque, nature-infused soundscape perfect for stargazing. Its beauty is awe-inspiring and evocative. 'Zodiacal Clouds' is another standout, shimmering with soft, floaty ambient tones that are simply delightful. On Side-2, 'Infinite Pathways' gives us feelings of being hopeful in a serene enviorment, offering a sense of tranquility and calm. Both artists bring their expertise in ambient music, creating a rich palette of soothing tones and textures. This collaboration is an exciting collaboration we hope to see more from. This is a must for ambient and drone followers.

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: "In 1987, a Japan-only Laserdisc was published by intermission. It showcased one our of works created by renowned German environmental artist NILS-UDO with specially commissioned music by Japanese Kankyo-Ongaku group Interior... Soon after, the world vanished." As a label, WRWTFWW Records have done a stellar job at setting the scene and establishing the perfect atmosphere for Sculpture of Time: Apocalypse. Released on vinyl for the very first time since it was made, almost 40 years ago, it's a lush, tranquil, and reflective slice of earthly ambient that sounds as though someone has just walked out of the jungle and picked up a synthesiser. You can almost reach out and touch the blue and green spaces the soundtrack evokes. Transportive in the truest sense.

Review: The seeds of composer Rafael Anton Irisarri's latest LP were first planted during his 2016 tour in Italy, months before that Autumn's unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named "il Mito Americano" - meant as "The American Dream" but translated literally to English as "The American Myth" - sparked a series of ideas, both conceptual and musical. Thus was Facadisms born, a mesospheric meditation on the world's many shared fictions and fantasies, essential and inessential. Listening to this ambient record is like standing naked on the outside terrace of a mountain aerie, blustery winds disturbing but not stopping our staring out over the miniature civilisations clustered below. With gnomic titles like 'A Little Grace Is Abundance' and 'Control Your Soul's Desire For Freedom', Irisarri compels the psyche to exward attention; his thickly packed, subliminal walls of ambience act as vessels through which to meditate on the injustices that puncture, and self-sever, the integrity of the American fundamental fantasy. Even going so far as to decry the concept of freedom itself (au contraire), Irisarri states in support of the record: "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "Facadisms illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives."

Review: Rafael Anton Irisarri's latest work, Facadisms, is an introspective exploration of drone music that encompasses eight atmospheric compositions. Crafted during a tumultuous period marked by social and political upheaval, the album serves as a reflection of contemporary sentiments, blending musicality with thematic discourse. Irisarri primarily utilizes guitars rather than synthesisers, creating an acousmatic texture that permeates the album. While drone elements dominate, identifiable guitar sounds occasionally pierce through, enhancing the overall experience. The collaborative tracks stand out, with contributions from Julia Kent's cello and Hannah Elizabeth Cox's ethereal vocals on 'Control Your Soul's Desire for Freedom', forming a dense, shimmering wall of sound. KMRU's presence on 'Red Moon Tide' introduces oscillating structures and haunting vocalisations, gradually building a riveting soundscape. The concept of Facadisms emerged during Irisarri's 2016 Italian tour, inspired by the stark contrasts of brutalist architecture and the superficiality of Potemkin villages. The album captures a late capitalist lament, echoing the cyclical nature of political disillusionment through repetitive motifs. Each track flows between moments of absence and melancholy, creating a mournful haze infused with cavernous guitar tones. Closing with the collaborative 'Red Moon Tide', the album crescendos into unsettling realms of celestial disquiet and bristling noise, evoking the sensation of a soul's departure into a void. The cover, depicting a decaying structure in La Perla, Puerto Rico, poignantly symbolises the themes of loss and disintegration woven throughout the music.

Review: Rafael Anton Irisarri's Facadisms, presented on striking "clear petrol" vinyl, delves into the depths of drone music through a collection of eight immersive tracks. This album, conceived during a time of significant social and political unrest, highlights contemporary experiences while intertwining musical exploration with profound thematic narratives. Irisarri's use of guitars takes center stage, favoring them over synthesiwers to establish a rich, acousmatic atmosphere throughout the album. While the drone elements predominantly shape the sound, distinct guitar melodies occasionally emerge, adding layers to the listening experience. Collaborative highlights feature prominently, particularly in 'Control Your Soul's Desire for Freedom', where Julia Kent's cello and Hannah Elizabeth Cox's ethereal voice converge to create a lush, enveloping soundscape. KMRU's contribution on 'Red Moon Tide' introduces intricate oscillations and ghostly vocal layers, gradually constructing a compelling sonic journey. The album serves as a poignant commentary on late capitalism, reflecting the repetitive cycles of political disillusionment. Each composition transitions through moments of absence and reflection, crafting a mournful soundscape infused with cavernous guitar textures. As the album culminates, it leads listeners into unsettling territories filled with celestial disturbances and resonant noise, evoking the feeling of a soul's exit into an expansive void. The album cover, showcasing a crumbling structure in La Perla, Puerto Rico, powerfully embodies the themes of loss and decay that permeate the music, making Facadisms a haunting yet deeply resonant experience.

Review: Prolific experimental musician Eiko Ishibashi and filmmaker Ryusuke Hamaguchi follow up their for-the-ages 2021 collaboration for the latter's film adaptation of Drive My Car, with a slick and bold proclamation in jazz, electronica and improv: Evil Does Not Exist. Indeed, only the enlightened among us know that the ills of the world largely boil down to misunderstandings - oversights contra insights - thereby rendering any recourse to real malice by bad actors null, even when they themselves think it true. Evil Does Not Exist once more appears as both an album and film; the former artist's soundtrack here is as sublime as the realisation itself, combining dense copses of brass and freeform drumming to produce a euphoric miasma.

Review: Ken Ishii's 1994 album, Reference to Difference, is a crucial, yet often overlooked, masterpiece in the world of techno, ambient and electronic music from Japan. Celebrating the 30th anniversary of Musicmine Records, this album is now reissued and remastered, available on vinyl with its original track-list for the first time. Born in 1970 in Sapporo, Ishii's journey into electronic music began with arcade games and pioneers like Yellow Magic Orchestra and Kraftwerk. The discovery of Detroit techno in the late 80s shaped his artistic vision, blending with influences from British and American IDM and ambient techno. Reference To Difference is a futuristic blend of ambient atmospheres, techno rhythms, and minimalist compositions. It transports listeners back to the mid-1990s, a golden era for Japan's unique techno culture. This era saw Tokyo's clubs like Maniac Love becoming essential hubs for the underground scene, where Ishii and peers like Susumu Yokota thrived. Ishii and Yokota set benchmarks for Japanese techno with their early works. Ishii's Reference to Difference and Yokota's Acid Mt. Fuji, released simultaneously on June 29, 1994, were pivotal in putting Japan on the global techno map. Martyn Pepperell's new liner notes accompany this reissue, shedding light on Ishii's influence and the album's significance. Rediscover this gem and experience a landmark moment in electronic music history.

Review: Italoconnection deliver the second volume in their Midnight Confessions Italo trance albums series. The partnership of Fred Ventura and Paolo Gozzetti first saw the first edition of Midnight Confessions in 2021; three years later, a whole new fresh set of modern yet true-blue Italo sonics are unleashed. As Ventura's unmistakable lead vocals regale tails of optimistic liaisons and lost love, Gozzetti's monumental production style brings a torrential sheen to an otherwise well-known Italian dance style. On the likes of 'Cold War Lovers' and 'Systematic', we hear a further set of ruminations on current events, the former track marking a synthwave sojourn as Ventura laments the energetic anomie, the inhibitions of today: "we should be dancing, we should be dancing all night..." Released on a limited edition 2xLP via Bordello A Parigi.