Back catalogue: Leftfield

Review: Rambadu's self-titled label is young but already onto a good thing with a distinctly deep brand of techno. This time out the boss is back once more but in cahoots with Italian techno legend Claudio PRC. They cook up a trio of mind melters starting with 'Sai.' Warped lines menacingly roam about the stereo field over sparse kicks and deep abs. 'Matika' is just as paired back and atmospheric in a deep, dark way with slowly churning drums taking you deeper down the rabbit hole. 'Aqua' is a meatless blend of distant groans and wispy pads that keeps you in suspense.

Review: Lukid and Tapes are on a proper roll with Rezzett at the moment, following up on a knockout 2023 on The Trilogy Tapes with this self-released clutch of weirdo techno-not-techno nuggets from the outer reaches. There's distortion in abundance, and a laissez faire approach to soundsystem impact in favour of textural, atmospheric sculpting. It's dripping with intention even as it stumbles inquisitively from one lo-fi tweak to the next, sounding utterly inspired and delightfully unhinged in equal measure. What's most important is the melodic warmth which peeks through the noise, edging this above the usual murk associated with noise-doused electronics.

Review: XXX is back with a steamy 16th EP and it features two original tracks by Anastasia Zems & Radial Gaze on the A-side, with remixes from Chinaski & S.I.R.S. on the B-side. The originals are characterised by dark industrial vibes, sharp kicks, and throbbing yet playful basslines that will persuade any dance floor to get throwing shapes. On the flip side, Chinaski's remix takes an unexpected turn as a trance-like trip that climbs higher and faster with each beat. S.I.R.S. offers a contrasting disco remix with an irresistibly groovy bassline, and just as irresistible is the playful artwork by Gees Voorhees that perfectly captures the eclectic nature of this EP.

Review: London promoters Sagome continue their evolution and expansion into an essential label with their third release. This one comes from Italian duo Rain Text which comprises Giuseppe Ielasi, a renowned mastering engineer and one-half of Bellows, and Giovanni Civitenga, who hosts the long-running Skyapnea show on NTS. Their new album III offers sequentially titled, intricately detailed electronic compositions that blend abstract techno, glitchy sound design and experimental electronica. Comparable to Mika Vainio's sonic manipulation yet more densely layered, III nods to the fractured sounds of Actress and the decay-driven textures of late-period Jan Jelinek. It's engaging and unique, to say the least.

Review: Mind Express boss Refracted, AKA Berlin's Alex Moya, emerges from the depths of some murky, oily, opaque lake. A place unsettling and unnerving - the site of some unknown tension - but also wonderfully inimitable and hard to countenance. Powerful stuff, just not really in a way that immediately presents itself as such. Nevertheless, before you know it these tones have enveloped and ensnared. Call it ambient techno, call it ambient, call it pure futurism - parts here almost feel like the ambient noises of familiar things that haven't been invented yet. If that makes sense? A moody precog of a record, it whirs and drones, echoes and dissipates. There are moments when structure become more defined, like the mystery of 'Initiation', but for the most part these are aural infinity loops.

Review: When Italian film director Luca Guadagnino commissioned long-term collaborators Trent Reznor and Atticus Ross to write and produce the soundtrack for Challengers, he had a clear idea in mind: music rooted in Berlin techno and 90s rave'. Reznor and Ross undoubtedly delivered, creating heavily electronic music that veers between guitar-laden nu-rave ('Yeah x10'), throbbing peak-time workouts (the Moroder-goes-to-Berghain flex of 'Challengers'), tech-tinged nu-disco ('The Signal', 'The Points That Matter'), pitched-black EBM-techno fusion ('Brutalizer') and acid-fired insanity ('Pull Over'). There are occasional nods to more classical movie soundtracks - see the choral versions of Benjamin Britten's 'New Year Prayer' - but for the most part it is a thrill-a-minute ride through deliciously heavy rhythms, basslines and electronics.

Review: Rivet's newest album for Editions Mego blends optimism and negation, emerging sanguinely from a period of personal tragedy and disillusionment undergone by the artist. Mika Hallback, a key figure in the Swedish underground, first gained attention with industrial techno as Grovskopa before shifting to experimental work, including On Feather and Wire (2020). After the loss of fellow musician Peter Rehberg and his dog Lilo, Hallback created the somber L+P-2 (2023), and now Peck Glamour marks his return, coming reinfused with hope and exploration. Drawing on punk, industrial, techno, and trauma, the album combines synthetic and organic elements, with 'Orbiting Empty Cocoon', with its tugging, metal ballistic sound-rooms sounding like an Au-technic, cybernetic ritual, a dance anthem 'Patitur Butcher' and 'We Left Before We Came' concluding on comparatively layered zoonotic notes; posthuman synthesis backed by birdsong.