Back catalogue: Leftfield

Review: While Brown Fang (Jon Thompson and Henry Scott) have worked with Huw Costin as Torn Sail before, this tidy two-tracker marks the first time a record has been jointly credited to their two projects. Naturally, the Nottingham trio has pulled out all the stops to make sure that the release is as memorable as possible. They set the tone with 'Exit', a suitably gorgeous, sofa-ready shuffler in which glistening guitars, bubbly electronics and dreamy chords ride a warming bassline and sparse, minimalistic beats. On 'Endless', the three East Midlands-based friends explore their ambient inspirations, laying down an immersive soundscape that you'll want to get lost in again and again.

Review: Swiss imprint Phantom Island specialises in the kind of atmospheric, slow-motion Balearica that looks far and wide for inspiration. Their latest EP, a collaboration between live electronic performer Tillman Ostendarp and singer/songwriter Gina Ete, naturally takes a similar approach. Title track 'Le Bouqet', for example, features subtle nods towards the more atmospheric material on Peter Gabriel's 1980s album 'So' with drowsy chords, ethereal electronics, clicking beats and the sweetest of vocals, while 'Tetra' is creepy, dark and atmospheric in the extreme, with live percussion catching the ear. Elsewhere, 'Nonchalant' is like trip-hop after a hit of opiates, 'Customer Care' is a wonky number with distorted vocals, ambient textures and West African percussion, and Fuga Ronto's remix of 'Le Bouquet' is a retro-futurist leftfield synth-pop gem with added dub delay.

Review: Both "Corner Song" and "The Flying Man" were first featured on Tempelhof and Gigi Masin's second collaborative album, 2016's arguably overlooked album Tsuki. Both are naturally worthy of a single release, though, as they deserve wider recognition. Both are quietly beautiful, drowsy and hazily picturesque, with gently percussive opener "Corner Song" just edging out the beat-less brilliance of "The Flying Man" - in which Masin delivers a weary and heart-aching vocal - in the "best track" stakes. On the flip you'll find a radical re-interpretation of "Corner Song" by New York producer Jex Opolis, who wraps Tempelhof and Masin's glistening guitars around a wonderfully colourful and tactile Balearic boogie groove.

Review: Following a couple of decent but arguably overlooked 12" singles, Tecwaa has decided the time is right to drop his debut album. The Swedish artist proceeds to languidly shuffle through evocative, occasionally icy tracks that variously draw influence from deep house, 1980s wave music, spiritual jazz, leftfield synth-pop, trippy electronica and chugging psychedelic disco. It's an interesting and entertaining set, with each success delay-laden track delivering a new twist on his hard-to-pigeonhole late night/early morning sound. By the time the bubbly, acid flecked "Those Cosmic Plains" rounds the album off, you'll be ready to listen to it all over again.

Review: Austrian duo Tosca aka Richard Dorfmeister and schoolmate Rupert Huber, are synonymous with downtempo and ambient and have been for over two decades. It's exactly 20 years in fact since their third album, Dehli9, dropped 2003 and offered two quite different sounds. The first half of the record is what you might call traditional downtempo, the second a more sparse affair defined mostly by plaintive, evocative piano pieces based on '12 easy to play piano pieces' by Rupert Huber. It's a sombre but alluring listen in which the space between the minimal notes really comes alive.

Review: Newcastle cold pop duo Troth have always been one to watch if you're on the pulse of the city's underground experimental scene, thanks to their dreamy sound, hypnotizing live sets and a propensity to induce zone-out states in whoever chooses to listen. Their latest LP 'Forget The Curse' carries the same lo-fi, folk and synthwave sensibilities as their rather obvious influence Hype Williams, building a clairvoyant dialogue between the vocals of Amelia Besseny and Cooper Bowman. Channelling the idea of dream logic into their music, we are further charmed into doing the duo's bidding, through such instruments as an affected sax and high-cut piano echoes ('Forget The Curse').

Review: It's been 40 years since Michal Turtle released his seminal, ground-breaking album Music From The Living Room into the world and promptly disappeared back into the aether. An extremely obscure cult classic known only to deep diggers and aficionados of the finest order, it wasn't until Music From Memory reissued some of the tracks from it via retrospective compilations of Turtle's unreleased music almost 30 years later that his name become more widely known and a new generation were able to discover the artist's unique and pioneering style of experimental electronic music production, the majority of it very much ahead of its time, and to this day still timeless. Invisible Inc. contacted Turtle in the summer of 2023 about releasing something else by him, and it was during this exchange of emails that ideas were expressed about releasing not simply a straightforward reissue of Music From The Living Room to mark its 40th anniversary (the album has never been reissued in full), but rather a re-imagined and re-constructed take on the album, bringing contemporary techniques, styles and newly recorded vocal and instrument parts into the mix and breathing new life into these wonderful compositions. Collaborators old and new were brought into the studio and the songs re-created from the ground up. Familiar songs like 'Are You Psychic?' and 'Village Voice' are overhauled and echo remnants of their original counterparts, but simultaneously sound like completely new tracks. The always mesmerising 'Phantoms Of Dreamland' is represented through a live recording at Cafe OTO, featuring original album vocalist Lucianne Lasalle and regular collaborator HOVE on electronics. The remaining tracks, however, will be completely new to the ears of most people, never having been reissued or heard in these new forms ever before.

Review: French label Macadam Mambo has always operated at the fringes of electronic music. Whether doing disco, world music or experimental sounds it has always had its own odd but alluring musical identity. For this one Tutu Ta goes deep the world of dub and electronics across 12 dark yet nuanced cuts on the Lonely Eyes album. It's a world of wonder with warped synths and ghostly vocal fragments, DIY rhythms and smeared pads that bend space and time. Lighter dubs like 'Talk Of Da Town' sit next to menacing shanks such as 'Krunk (Woody Flute mix)' while the percussive swagger of 'Kilburn Market Dub' is one to get you moving.