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New releases last two weeks: Leftfield
Leftfield vinyl released in the last two weeks
Items 1 to 45 of 45 on page 1 of 1
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Time Of Man
The Way Of Time
Like The End Of The World
All Stars Have Names
The Old Way Was Gone
The Way Of Time (On & On)
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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Different Rooms (CD)
Cat: IARC 98CD. Rel: 19 Jun 25
Mean Solar Time
Long & Short Delays
Side By Side (feat Jeff Parker)
One Of Eight
Before & After Signs
Different Rooms (feat Josh Johnson)
Speaking In Parallel
Side By Side (Reflected)
Mind By A Way
Mean Solar Time (Reflected)
Review: Different Rooms finds Jeremiah Chiu and Marta Sofia Honer file their patchwork method of tape-splicing, improvisation and studio play down to a fine, sharpened nib. Written and assembled between late 2024 and early 2025 in their adjoining Los Angeles studios, the album weaves live performance with granular synthesis, viola stacks, and manipulated field recordings gathered from train platforms, city streets and domestic spaces. Unlike the drifting landscapes of Recordings From The Aland Islands, their newest LP as a pair keeps rooted in a replication of deep urban listening, attuned to passer-by street textures. Jeff Parker and Josh Johnson appear on archival improvisations folded seamlessly in; though despite outside collaborations the sequence loosely mirrors itself, with motifs returning in altered form, echoing the project's core idea: though we move through different life "rooms", they are in uncanny enfilade, each ghostlily similar to the last.
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Review: Throbbing Gristle co-founder and all round British experimental electronic institution, Cosey Fanni Tutti returns with 2t2, a new full-length set for release through her own Conspiracy International label. The new nine-tracker extends the tracked terrains of 2019's Tutti, blurring personal reflections on years of loss and upheaval into prosthetic electronic soundscapes. The record unfolds over two contrasting halves, one beat-driven, the other more introspective, yet it also keeps anchored to a certain ground point emphasising resilience and focus. Lead cut 'Stound' features overtone chanting, which Cosey describes as a way to channel inner strength: "allowing the sounds to permeate and soothe as well as create a sense of power."
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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: Brian Eno's career has always been about explorationiof sound, technology and the emotional power of music. After pioneering ambient music, Eno has consistently sought out new ways to blend different genres and voices and his latest collaboration with Beatie Wolfe continues this tradition. Wolfe, a British-American artist with an innovative approach to music and activism, complements Eno's atmospheric world with her emotive, alternative vocals. Their work, recorded in London, moves seamlessly from the meditative to the experimental, with tracks like 'Big Empty Country' offering stark contrasts between the brightness of the day and the shadows of the night. This release is not only a nod to Eno's sonic experimentation but also a testament to his lasting influence as an artist who always seeks to connect art with broader societal issues, especially the environment.
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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: SR 561. Rel: 19 Jun 25
Music With Changing Parts
Review: Composed in New York by the Baltimore-born minimalist Philip Glass and released in 1971, Music With Changing Parts was the album that put his vivid, colour-rich sound on the map, marking a shift away from the ultra minimal 600 Lines (1967) and Two Pages (1968). Performed with free instrumentation, the piece allows musicians to switch between eight staves at specified cues, generating abrupt shifts in texture and timbre. Though its melodic material remains tightly looped and minimal, changes in orchestration continuously refresh the sonic landscape. Most striking is the psychoacoustic illusion Glass observed during rehearsals: when multiple players repeated the same short patterns, sustained tones seemed to emerge on their own. He eventually formalised this in the score, permitting long notes to enhance the effect. What results is a hallucinated resonance that pulses and flickersian early indication of the harmonic depth he would later bring to works like the miestone Einstein On The Beach.
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Review: The twelfth studio release from Manchester duo Marconi Union reaffirms why they remain such a quietly vital force in ambient music. Formed in 2003, the pair's latest work arrives after a two-year process of reorientation i one that saw them scrap old habits, test new material live, and ultimately return to the atmospheric instinct that first defined them. The result is a seamless 55-minute composition split into nine movements: fluid, immersive, and full of emotional nuance. It's a brand new release that spans sequencer-driven passages, low-lit drone work and impressionistic electronics, all stitched together with an elegant sense of pacing. 'Eight Miles High Alone', the first piece completed and shared publicly, sets the tone with a solitary pulse and slow-building tension i its clarity and weightlessness shaping much of what follows. The music unfolds without force, evoking both disquiet and release. Though wordless, the journey speaks volumes. A sense of modern anxiety hovers throughout, yet it's counterbalanced by warmth, space and stillness. After years of refining their sound across acclaimed releases and multimedia collaborations, Marconi Union deliver some of their most affecting work to date i not by reinventing themselves, but by rediscovering the beauty of doing less, slowly, and with purpose.
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Tall Tales (Japanese Edition) (UHQ-CD with obi-strip)
Cat: BETE 32153762. Rel: 04 Jun 25
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Ennio Morricone - "Sonny"
Piero Umiliani - "They Call Him Django"
Daniele Patucchi - "Lo Ammazzo Come Un Cane Ma Lui Rideva Ancora - M14 (Tensivo Suspense)"
Gianni Ferrio - "That Man"
Ennio Morricone - "A Gringo Like Me"
Nico Fidenco - "The Yankee Fellow"
Alessandro Alessandroni - "Gray Skies"
Nino Oliviero - "Cuando Se Muere El Sol"
Michele Lacerenza - "Concerto Per Un Killer"
Francesco De Masi - "Find A Man"
Francesco De Masi - "Arizona Colt"
Caterina Caselli - "Il Cammino Di Ogni Speranza"
Nico Fidenco - "Clayton"
Gianni Ferrio - "Give Me Back"
Angelo Francesco Lavagnino - "Vendetta Per Vendetta"
Carlo Rustichelli - "I Must Go"
Gianni Ferrio - "Era Un Cow-Boy"
Marcello Giombini - "Ballata Per Un Pistolero"
Carlo Savina - "Hey Amigos You're Dead"
Francesco De Masi - "Jerry Theme"
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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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Memorabilia
Where Did Our Love Go
What!
A Man Could Get Lost
Chips On My Shoulder
Sex Dwarf
Tainted Dub
Torch (12" version)
Insecure Me? (12" version)
What! (12" version)
So (12" version)
Torch (7" version)
Insecure Me? (7" version)
What! (7" version)
Memorabilia (The Hacker 808 remix)
A Man Could Get Lost (Jon Pleased Wimmin remix)
Torch (MHC 2001 remix)
Insecure Me? (Hifi Sean remix)
So (Hifi Sean Baltimore Basement dub)
Bedsitter (Manhattan Clique mix)
Tainted Love (Paul Dakeyne remix)
Memorabilia (Wally Funk remix)
Sex Swarf (The Grid remix)
Bedsitter (Erasure remix)
So (The Grid remix)
Memorabilia (Daniel Miller remix)
Review: This 2xCD edition goes well beyond nostalgia, offering the definitive take on Soft Cell's most illicit and club-focused chapter. Originally released in 1982 their second album was a bold pivot: less of the noir cabaret that had its roots in their Leeds Poly days, more MDMA-drenched disco detachment. But what felt fleeting at the time now reads like a fully formed vision. The first disc captures the original six-track run, including a furious remake of 'Memorabilia', the twisted funk of 'Sex Dwarf' and their glam-stomp take on 'What' i a track that somehow hit Number Three in the UK while sounding like it belonged in a haunted backroom. The second disc expands the picture with extended cuts like 'Tainted Love/Where Did Our Love Go' and 'Torch', all of which showcase how Soft Cell flirted with pop but refused to smooth their edges. It's a new reissue, but more importantly, it's a reminder of just how ahead of their time they were i turning sleaze into sophistication and dancefloor detritus into poetry. Digitally remastered and packed with rarities, this is as complete a portrait of Soft Cell's ecstatic peak as you'll find.
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Cat: SPS 2597. Rel: 16 Jun 25
in stock $16.24
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Lament (CD1)
Lament (CD2)
Lament (CD3)
Lament (CD4)
Lament (CD5)
Lament (CD6)
Lament (CD7)
Lament (DVD)
Review: This 2024 edition of Lament by Ultravox is a comprehensive, end-all-others 7CD + DVD deluxe edition expander including a (you won't believe) 72 tracks, with a newly remastered version of the album alongside a fresh 1980s-style extended remix. The seventh studio album by British new wave pioneers, Lament marked the final appearance of original drummer Warren Cann until the band's reunion in 2012 with Brilliant. But despite the name and the grievous context, the album was hardly lachrymose in sound, and it achieved much commercial success, owing to a prosperous prior experience with producers Conny Plank and George Martin, who drove its lush Chrysalis synthpop sound. Aforementioned remixes include contributions from Moby, Steve Wilson, Blank & Jones, and Midge Ure, while a newly mixed full concert recorded at Hammersmith Odeon in 1984 comes stapled in at the end. Mastered and cut by Phil Kinrade and Barry Grint at Air Mastering, London.
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Cat: LIB 2138. Rel: 19 Jun 25
in stock $17.37
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Somewhere (screen-printed 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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Items 1 to 45 of 45 on page 1 of 1
