Back catalogue: Leftfield

Review: Sexbeat are the latest gem you're about to fall in love with from the lost generation of punk, Now Wave and Neo-Goth. We only wish there was more information we could share about them, other than the fact they hit hard and manage to straddle the lines between raw and nasty and strangely romantic and melodic. It's rousing stuff that wants us to sing along while getting spat in the face because the front row is so close to the stage and the vocals are delivered with such resolute aggression. On this self-titled A-sider, they launch from the starting blocks with all the energy and atmosphere of an era that's sadly now confined to history, rolling bassline and driving drums immediately gunning for your attention, nodding to the likes of Surf Nazis Must Die and Aufrichtiges Zappa.

Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.

Review: Legends of EBM, Canadian electro-industrialists Front Line Assembly should need no introductions, given their work stretches back to the mid-1980s. Nevertheless, they occupy a relatively obscure space - made for dance floors, but twisted, dark cornered, writhing, distorted dance floors where many fear to tread. With that in mind there will be some newcomers, and The Initial Command is a great starting point because it's the starting point of the band's back catalogue.

Originally released in 1987, this is the first album from an impressive 17-LP-strong body of work. And it's also the most definitive of their sonic style, setting a benchmark for all that would follow. Fiercely original, not least for 'it's time', from the glittering synths and harsh metallic percussion of the unarguably cinematic 'Casualties' and the abrasive white noise on 'Ausgang Zum Himmel', to the punchy breaks and dramatic strings of 'No Control', re-releasing Command is an essential act of unearthing.

Review: Danzig and Misfits mastermind Glenn Danzig stepped out solo for this superb cassette release that has had fans fawning. It's a suitably spectacular sequel to the first part of the Black Aria series that was originally released in 2006 and is seen as one of his most audacious ever works. It finds Danzig extends his band's already ambitious, classically-themed project with this time the infamous Lilith, the first wife of Adam, as the main theme. The cover is a super one that features an illustration by the well known Marvel comic artist Bill Sienkiewicz. All in all, a vital reissue of a metal classic.

Review: Second time around for Cosmic Assault, Californian guitar god and sometime Chrome member Barry Johnson's ninth album as Helios Creed. Something of a hard-to-pigeonhole classic, the album combines his ravaged and acid-fried hard rock and psychedelic metal sound with elements of industrial music, horror soundtrack style synths, and all manner of decidedly cosmic and intergalactic sounds. As a result, the set attractively veers from intense, mind-man gling workouts rich in heavy riffs and elongated guitar solos ('Cosmic Assault', 'Rise'), exotic excursions ('The Master'), and more immersive explorations of the outer reaches of the aural universe.

Review: Rosetta Stone, one of the most enduring bands from the influential second wave of gothic rock, returns with a brand-new studio album called Under the Weather. Known for their dark romance and chiming guitars, the new album stays true to form with lush keyboards and an undercurrent of sinister nostalgia, thanks to bandleader Karl North. Fans can look forward to pre-release singles and a significant media blitz to accompany this album, their first in 4 years. Formed in the 1980s by Porl King and Karl North, Rosetta Stone initially captured the jangly-guitar sounds of gothic rock. Their big break came after supporting The Mission on tour. The band later transitioned to a more electronic sound before disbanding in 1998. Now, gothic mastermind Porl King is back with an album that promises to transport fans back to goth's heyday. Like their namesake, British goth legends Rosetta Stone were pivotal in bridging the gap between the first wave of gothic rock and the emerging underground scene. Their music brought a romantic element to a dynamic era of black fashion and experimental freak culture.

Review: Rosetta Stone's latest studio album, Under The Weather, continues their legacy as gothic rock pioneers. Returning with their signature dark romance, the album features chiming guitars, lush keyboards, and a hint of sinister nostalgia. Karl North, the band's key figure, guides this new release with a refined blend of their classic sound and modern touches. Since their 2020 comeback with Cryptology, fans have eagerly awaited new material, and Under The Weather promises to exceed expectations. This album is set to impress longtime followers and new listeners both with its evocative melodies and hauntingly atmospheric tracks. Available on coloured vinyl, it's ideal for collectors and fans of the gothic rock genre.

Review: On this unique compilation, various artists pay homage to the iconic Irish rock band U2, reimagining their timeless classics and turning them into their own., from the dreamy ethereal sounds of Heaven 17's 'With or Without You' to the pulsating electronica industrialism of Front Line Assembly. The Mission UK's haunting rendition of 'All I Want Is You' evokes a profound sense of longing and despair, while The Electric Hellfire Club's industrial-infused 'Sunday Bloody Sunday' captures the raw energy and political urgency of the original. Rosetta Stone's ethereal 'October' provides a meditative interlude, and Die Krupps' throbbing dance interpretation of 'Numb' adds a sinister edge to U2's dance track. The album culminates with Silverbeam's soaring anthem 'Where The Streets Have No Name' featuring Ann Louise, a fitting tribute to the band's enduring impact on the global music scene. Tribute albums rarely shine as bright as this one does.