Back catalogue: Leftfield

Review: The title 'Maze Of Sounds' is revealing enough; together in 2020, Janko Nilovic and The Soul Surfers built a musical labyrinth, with the Russian bandleader's instrument of choice (the keyboard) intended as a spiritual guide for navigation through what would otherwise be a rather difficult and surreal tribulation. A contemporary instrumental soul and funk album for those who like to set the scene with a glass of sherry and a dash of mystique, the cuts here - from 'Sweet Path' to 'It Never Ends' - are cinematic tools for relaxation, contemplation, and of-course, guidance.

Review: "NINE INCH NAILS' GROUNDBREAKING DEBUT ALBUM
REMASTERED AND RE-RELEASED

Fans can now revisit the conception of Nine Inch Nails. Trent Reznor's Null Corporation has teamed with UMe/The Bicycle Music Company to release Pretty Hate Machine: 2010 Remaster on November 22, 2010. After completing the score for David Fincher's The Social Network, Reznor oversaw the digital remastering of Pretty Hate Machine from the newly unearthed original tapes with engineer Tom Baker (whose NIN credits include The Downward Spiral, Broken, The Fragile, With Teeth and Ghosts). This remastered version includes an eleventh track, a cover of Queen's ''Get Down Make Love,'' originally the B-side to the ''Sin'' single and produced by Al Jourgensen. Rob Sheridan, NIN's longtime art director, has also re-imagined the packaging of Pretty Hate Machine under Reznor's supervision.

As a young musician in Cleveland, Ohio, Reznor took a job at a local recording studio and employed unused studio time to develop his own material. The nascent album was later recorded with his favorite producers including Flood/Mark Ellis (U2, Depeche Mode, PJ Harvey), John Fryer (Cocteau Twins, This Mortal Coil), Adrian Sherwood (Ministry, Cabaret Voltaire) and Keith LeBlanc (Tackhead). The result was the first Nine Inch Nails album, 1989's Pretty Hate Machine. All songs were written, arranged, programmed and performed by Reznor. The album featured the breakthrough singles ''Sin,'' ''Down In It'' and ''Head Like A Hole,'' and ultimately sold over 3 million copies, reaching Triple Platinum sales status. In the wake of the album's initial underground success, NIN soon developed a reputation as one of the best live acts in rock and joined the inaugural Lollapalooza tour in 1991. NIN have since sold more than 18 million albums, collected Grammy® Awards and headlined arenas, amphitheaters and festivals worldwide.

The Bicycle Music Company acquired the rights to Pretty Hate Machine from a division of Prudential Securities in the spring of 2010. It was Bicycle's intention from the onset to enable Reznor to regain some control of this lost piece of NIN's legacy, resulting in this artist approved 2010 reissue of one of music's most groundbreaking and influential albums.

Reznor is currently working on new music as a member of the group How To Destroy Angels, continuing his Nine Inch Nails efforts and composing for future film score projects.

TRACK LISTING:
1. Head Like A Hole
2. Terrible Lie
3. Down In It
4. Sanctified
5. Something I Can Never Have
6. Kinda I Want To
7. Sin
8. That's What I Get
9. The Only Time
10. Ringfinger
11. Get Down Make Love"

Review: "I don't know where I'm going from here, but I promise it won't be boring," David Bowie famously quipped at his 50th Birthday concert in Madison Square Garden. That was 1997, and sadly we can now look back at the years between then and now as the last the icon would enjoy, although given the pantheons of unreleased material, music and other, we still have more than his legacy alone to learn from. He certainly kept his word, then, not least by opting to work with Trent Reznor and Nine Inch Nails, a band that found inspiration in myriad styles and sounds, from Human League to Pink Floyd, carving out a 'industrial electronic rock' niche for themselves. In addition to tours and one-off shows, recordings of their collaborations are remarkable, generating fresh wholes from the enormous sums of these parts.

Review: Space Oddities (1972 - 1982) are the results of Frenchman Georges Achille Teperino aka Nino Nardini, fellow countryman Roger Roger and German Eddie Warner's collaborations over ten years at Ganaro recording studio. Given some underground recognition in the late nineties by the likes of Barry 7 of Add N to (X) (with his Connectors series) or UK electronica legend Luke Vibert, they can now add Alexis Le-Tan (Les Edits Du Golem) and Jess as devotees, who made the effort of compiling the release. As Born Bad stated quite succinctly, the trio used their "strange instruments to sketch out the beginnings of something that resembled the future of music. This collection presents some of the highlights from their light-hearted, electronic pop sessions."

Review: Many people's first taste of Nocow was amid the second half of the dubstep era - a time when boundaries between established genres and more explorative, contemporary and adventurous beats were blurring, feeding directly into the beautiful mess we see before us today in the dance music scene. Since then, he has graced us with a raft of excellent work which, much like the ethics of the time he emerged from, never really stand still or regurgitate. The difference between Odinocow and 2017's Ledyanoy Album is a case in point. Whereas then we were going through sounds that owed much to 1990s ambient techno, IDM, and associated noises, here we take a very different path, with a haunted R&B undertone running throughout the work, and plenty of nods to polished beach house, trance, and chill wave.

Review: If you like dense, challenging and austere industrial noise then read on: French sound curator and in situ artist Jerome Noetinger is a master of that who has proven himself over more than 30 albums. Sur Quelques Mondes Etranges is another one of his avant guard outings with electroacoustic designs at its core. The album is divided up into two sides of shorter tracks, then one 18-minute piece that takes up a whole side, and then one side of 21-second locked grooves for you to mix up however you see fit. The whole record was made in three days in a Hamburg studio and is a fine showcase of his ability to make palpable metal texture and real-world dirt out of sound waves.

Review: A Beautiful Place label founder Noha (also head of Panick Panick) offers up his latest slice of sonic wonderment with The Abyss Between A&B. Hailing from Italy's great capital, Rome, but having lived in New York for some time, once that's clear you can't help but hear a mixture of old world musicality and modern - or indeed futuristic - production happening across this startlingly good, rather different electronic effort.
Comparing the first and second tracks alone is enough to prove this, with 'Today' and its beautiful beatless harmonies invoking a kind of ancient mystery, while the dub-stepp-y 'Kudos Kid' feels very much born in the clubs and streets of our time (while also nodding to another synth gem, Elektro Guzzi). From there, things continue to flit between those two worlds, combining lush soundscapes with infectious and often slightly off centre percussion, making for one of those outings that can make you move and dream.

Review: Johnstown, Pennsylvania isn't the first town on everyone's lips when it comes to deep dive electronics. But then, sadly, most people still don't seem to have encountered Nondi. Better known to some of those who have as Tatiana Triplin, the US producer and head of the 'net label HRR has developed a cult following for her experimental takes on some already quite leftfield electronic genres: breakcore and footwork, alongside Detroit-hued techno. What's remarkable about all this is the fact she confesses to only really having direct experiences of these genres online, as oppose to amid the sweat and frenzy of the situations they were first intended for. While this might lead some to assuming her work lacks authenticity, nothing could be further from the truth - it's all so authentic because the interpretations are entirely hers.

Review: Lisbon has a lot to answer for in electronic music. Not just a great city to party in (and we mean great), the Portuguese capital has, for a very long time now, been responsible for some of the most cutting edge beats and pieces being made in Europe as a whole. More impressive still, it has managed to build this reputation due to the predominance of location-specific noises. The country's colonialist history means the population is hugely diverse, resulting in a real cultural melting pot, and tunes are a major outlet through which people can express their identity.
A place packed with characters as big as the impact of their respective sounds, Teteu, AKA Normal Nada the Krakmaxter, AKA Qraqmaxter,AKA CiclOFF, AKA Erre Mente, certainly accounts for a good number of those personalities on monikers alone. And, as Tribal Progressive Heavy Metal shows, his tunes are also hard not to notice. At once harsh and yet also delicate, or at least spatial, we run from a plain evil gabber-chip music-fairground ride oddity ('Alive'), to dubby proggy techno ('Da Gamer'), off-kilter pianos and UK funky drums ('Batida 2 Dance'), and snare-bass minimalism ('Nai Na Chi (Na China)'), among other adventures.

Review: Los Angeles-born and raised Jason W. Chung aka Nosaj Thing is back on Lucky Me with a new album, more than 15 years into his career. Continua is his fifth album overall and this one finds him working with a top crew of collaborators including Toro y Moi, Sam Gendel, Pink Siifu, Panda Bear and Eyedress. Renowned for his ability to craft soundscapes that draw on his life in music from early punk and DIY shows to his sets at the famed Low End Theory, here he again cooks up an all-pervading mood of absorbing synth goodness. Some rides broke beats, some is abstract, all of it is gold.