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Back catalogue: Leftfield
Juno's full catalogue of Leftfield
专辑
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out of stock $16.33
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Review: Geir Jenssen (Biosphere) marks his AD93 debut with The Way Of Time, wrapping elucted echo and looping synth drift around spoken fragments of Elizabeth Madox Roberts' great 1926 novel The Time Of Man. A Midwestern gothic literary staple, Roberts' novel is about the daughter of a Kentucky tenant farmer, and Jenssen's haunting use of Joan Lorring's voice from the 1951 radio play adaptation readapts his usual icy predilections for suitably huger desert horizons. Rather than treating the vocal as ornament, he folds it deep into the mix, letting it dissolve into the melodic architecture.
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Review: Robert Smith has always treated remixing less like revision, more like ritual i a habit that's followed him since his days in Crawley, West Sussex and then surfacing officially on the first Cure remix album, 1990's Mixed Up. This triple-disc release of reworkings from the band's latest LP Songs of a Lost World feels assembled with obsessive care, mapping out every possible mood lurking beneath the surface. There are club-ready flips, yes i Sally C, Danny Briottet and Gregor Tresher all push the rhythm forward i but they sit beside glacial pieces that feel more like haunted sketches than reworks. Mura Masa's take on 'All I Ever Am' is disintegrated almost beyond recognition, its vocal a flickering memory. Mogwai's 'Endsong' feels like the end of the world in slow motion. Even Chino Moreno turns in something striking i 'WarSong' morphs into a sludgy howl with heat-warped edges. But it's the sequencing that surprises: these aren't bolted together, but grouped in arcs, as though Smith were arranging the bones of an old idea into something still alive. Four Tet's version of 'Alone' is a high point i deeply textured but featherlight. Like all The Cure's output, what really matters is the feeling of being drawn somewhere, and Smith's hand never letting go.
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Review: More than four decades after he first appeared in smudged eyeliner and a mop of jet-black hair, Robert Smith is still finding new ways to pull his music apart and stitch it back together. This new remix collection i assembled and curated by Smith himself i feels less like a victory lap and more like a restless dissection of a legacy he's still actively shaping. The collaborators here are hardly incidental: Four Tet, Orbital, Ame, Chino Moreno, Mura Masa, Trentemoller, Mogwai. It reads like a list built by someone still hungrily tuned into the present, not stuck in the past. And true to form, the results are all over the place i a feature, not a flaw. Some tracks lean into grandeur: Paul Oakenfold's take on 'I Can Never Say Goodbye' opens with all the sweeping melodrama you'd expect, while Daybreakers stretch 'WarSong' into widescreen synthwork. Elsewhere, Shanti Celeste and Ex-Easter Island Head bring a strange intimacy to 'Alone', teasing out its ache with a different kind of spaciousness. At times, you wonder if Smith enjoys seeing how far his work can be bent before it breaks. But it never does i even filtered through others' hands, his sense of tension, drama and deep emotional unease holds everything together.
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Cat: CDMH 8310. Rel: 23 May 25
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Review: Brian Eno and Beatie Wolfe join forces on a dual release infusing two distinct musical visions rooted in shared environmental concern. Their new joint release unfolds across two sides, with Luminal offering a vocal-led collection leaning into alt-pop ambiances and timbres, before Lateral rears itself in counterpart as a seamless ambient composition, making up a study in contrast and connection. Recorded in London, the project reflects Eno's lifelong exploration of mood and atmosphere, alongside Wolfe's ongoing push to blur the lines of digital innovation and tactile experience. The project builds the activist art works of Wolfe, a British-American concept artist based in Los Angeles, named by WIRED as one of "22 people changing the world," and tracks the expression of music beyond language or form.
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Cat: BF 074CD. Rel: 29 May 25
in stock $16.33
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Cat: 088024 2110275. Rel: 23 May 25
in stock $18.02
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Monastir (hand-numbered CD limited to 250 copies)
Cat: SPS 2598. Rel: 13 Jun 25
out of stock $16.33
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Review: First released three years ago and now receiving a deserved reissue, I Am A Tree I Am A Mouth is undoubtedly one of the most magic albums by Australian-American sprano and composer Jane Sheldon - an artist famed for her unique, voice-based works. While the album is not entirely made up of layered vocals and vocalisations - Sheldon employs long, languid ambient drones and textures throughout - they're naturally the focal point. Most of the lyrics (mostly sung, but some spoken) are taken from Rainer Maria Rilke's 1995 tome The Book of Hours (meaning Sheldon largely sings in German), and these are delivered in all manner of inspired ways. The results are uniformly dazzling, blurring the boundaries between chamber music, neo-classical and ambient music's experimental fringes.
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Cat: SPS 2597. Rel: 16 Jun 25
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Cat: LIB 2138. Rel: 19 Jun 25
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Somewhere (CD + 35mm photo slide limited to 100 copies)
Cat: PITPZD 038. Rel: 18 Jun 25
Review: Two of PITP's most prolific producers - between them their releases number well into the hundreds - team up for an exquisite mix of sound design and tactile field recordings. Witness, for instance, how 'Last Letter' weaves the hustle and bustle of a Japanese train station into lush, slowly shifting synth textures, building steadily to an emotional climax. 'Far, Far Away' is another highlight, blooming into view and then shrinking away. Class experiments in ambient territory, grab this limited edition while you can, it's a proper peach.
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