Back catalogue: Leftfield

Review: Lost in Music: Post Industrial Dreamscape is a powerful film made by British artist Jermaine Francis. This is its soundtrack and it is a collaboration between Tony Bontana and Francis himself. The soundscape mirrors the film's moody and smoky dissonance as it delves into Post-Industrial Britain's social and political landscape through Francis's life. After being inspired by seeing the film, Full Circle saw potential in the track and remixed it into a loose yet mechanical sound with trippy synths and churning bass, while Ukrainian artist Shjva added her own interpretation that is a much more heady and dee bit of techno with cosmic synth overtones and an otherworldly feel.

Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.

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: British conspiracy thriller Utopia follows a group of young adults who, after discovering a mysterious comic book - The Utopia Experiments - embark on a manic quest for corporate restitution and prophetic fulfilment. As a shadowy government organisation detects their plans and resolves to track their every move, we watch an empathic but deadly game of cat-and-mouse; and Cristobal Tapia de Veer's acclaimed score only heightens the tension. This new 2xLP edition includes such instantly recognisable motifs as 'Brainwave Playground', 'Satan's Waltz' and 'The Monarch's Pyramid', capturing the series' eerie and intense atmosphere. The score continues to resonate to this day, following Tapia de Veer's success with The White Lotus and Babygirl.

Review: An'archives introduce the debut from Tete de Chou, the quietly adventurous trio of Mark Anderson (Greymouth, Suishou No Fune), Kurumi Kido, and Arlo Wynks. Emerging organically from informal sessions and shared yakitori nights, their music developed in intimate settings; home shows in tatami rooms, improvised studio jams, long-distance collaborations. Sessions between Japan and New Zealand carried over the album's dialectic of place and movement, described by Anderson as "almost a travel diary." Dulcimer, ichigenkin, glockenspiel, reeds, and homemade electronics interlace like a five-ply plait, causing an unfixed yet deeply affecting effect.

Review: Breton artist Yann Tiersen's new album is divided into two distinct parts, each with its own identity. Rathlin from a Distance features eight introspective piano pieces named after locations Tiersen visited during his 2023 sailing tour, such as the Fastnet Lighthouse and the Faroe Islands. The music evokes introspection and tranquillity throughout and creates a meditative atmosphere that makes a lasting and cathartic impact. In contrast, The Liquid Hour is an expansive blend of electronic and psychedelic rhythms born from Tiersen's reflections on political and social change during his time at sea. The section's haunting melodies and Emilie Quinquis' vocals make a great counter to part one.

Review: Mille Plateaux and Raster hero Andreas Tilliander meets Fire! Orchestra's Goran Kajfes somewhere deep - and we mean DEEP - in the jazz cosmos. The farthest reaches of a universe far, far away, but one that still seems to understand how joyful vast can sound when pierced by the haunting yet strangely alluring sound of brass. But simply defining this as jazz misses a point, then throws us well beyond the pale. In Cmin would be nothing without the electronic tricks and gadgetry that first made us feel as though we'd space-walked off the edge of the known galaxy, out past the Milky Way's stardust. Echoes, tape delays, things that add mood and timbre without necessarily shouting their presence. There's magic at work here. And, contrary to the 21st Century's obsession with under-the-hood, not knowing the how is the reason why you want this.

Review: Bonafide and veteran Japanese house legend Satoshi Tommie is back with a second taste of his upcoming new album Magic Hour alongside a selection of fine remixes. First is an FDF Reshape of 'N01' which is dee, atmospheric and mid tempo techno, while the album's title cut then becomes a swamp, deep, menacing rework from Andrey Pushkarev. And FDF Rewire Fix of 'Phase Space' makes it into a deft, loopy, stuttering workout for the mind and the Sato Alternate Cut of 'Fast Track' is in fact a slow track steeped in dub dynamics.

Review: Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes shares her fifth album, requiescing ten captive ambient soundscapes, all of which share the aim of integrating dreamsand nightmares, grief and personal empowerment. Through the use of carnal, transcendent cello drones, Trappes explores historical and generational traumas in a chilling piece of gothic experimentalism. In a residential prelude, Trappes trapped herself in Scotland, eking remote studio solitude as a cranny in which to unleash personal demons, exploring and transmuting familial chaos and history. Raw and spiritually charged, the album offers a powerful meditation on loss; its threat, its meaning, and the process of coming to terms with it.

Review: London-based Australian vocalist, producer and multi-instrumentalist Penelope Trappe has always made immersive, enveloping and deeply atmospheric that sidesteps convention. It was that uniquely haunting and emotive approach to ambient and electronica that earned her deals with Optimo Music and Houndstooth, amongst others. Now signed to One Little Independent, Trappes has pushed the boat out further on Requiem, a mournful and bittersweet musical meditation in which her distinctively sweet-but-drowsy vocals rise above manipulated cello textures, hushed field recordings, ambient textures and intriguing electronic sounds aplenty. It's bold, beautiful and at times breathtakingly brilliant, once again marking Trappes out as an artist with a genuinely unique musical vision.

Review: Brighton-based Australian vocalist, multi-instrumentalist, and producer Penelope Trappes drops her fifth full length album and invites us on a bare bones, spiritual journey. Making herself incredibly vulnerable in the process, these are the kind of tracks that induce meditative and psychedelic trains of thought, haunting and beautiful, blissful and tense. Cello drones, gothic aesthetics, a king of futurist folk, at least some of the inspiration for which has come from time spent in isolated corners of Scotland. You can almost feel the wind blowing through the room as A Requiem lures and entices, breaks and mends hearts. Ambient, neo-classical, trance inducing works of wonder. This is the kind of record that can help make you see the world for what it is, and realise just how lucky we are to be here at the same time.

Review: Originally confined to CDia relic of a different timeiJorg Burger's early-2000s masterwork finally sees the vinyl treatment it deserves. Lush, transportive, and quietly radical, this is ambient techno at its most fluid, a body of work that drifts between nostalgia and movement, solitude and propulsion. 'Leuchtturm' remains untouched, its soft hand drums and hazy atmospheres still unfolding like a slow sunrise. Elsewhere, 'AG Penthouse' undergoes a transformation, its flute-like trills and glassy keys now fused to a churning rhythm that recalls Tangerine Dream's work on Thief, minus the guitar histrionics. Beat-driven yet deeply immersive, each track rises, crests and recedes in perfect sequence, a travelogue in the vein of Carl Craig's Landcruising or Model 500's Deep Space. What makes this release endure isn't just its shimmering detail but its refusal to conform. In a landscape where ambient techno so often leans on a specific nostalgia, Burger sidesteps the obvious, creating a listening experience that still feels singular, 21 years later.