Back catalogue: Leftfield

Review: The latest Lunar Disko release is a super-limited affair, with just 200 hand numbered copies available worldwide. It comes from recent ESP Institute debutant Damien Lynch, under his Diamond Dagger alias. He begins with the spacey chords, deep bass, sparkling electro melodies and bouncy beats of "Red Leather Bop", before moving closer towards bass-heavy, analogue deep house territory on the woozy "Licky6". Lynch's vintage electro influences shine through on the decidedly Drexciyan "Galactic Spear", while "Liber Ace" is little less than a starry-eyed saunter through rainbow synthesizer melodies, Italo-disco drums and stylized, eight-bit electronics.

Review: Let's get a few things clear before we start. This Heinrich Dressel is not the same German archeologist Heinrich Dressel who studied under the great Theodor Mommsen in Berlin during the late-mid 1800s. He is, however, the Rome-born electronic producer who takes a massive lead from the funky, glittering, but subtly chilling horror movie scores of the 1970s and 1980s, crafting highly detailed but lo-fi feeling tracks that are packed with pastiche but never parody.

Promenade is his latest effort, and instantly captures (or creates) the atmosphere this producer is best-known for. At a time when this end of synth wave has experienced a huge resurgence thanks to successive movie soundtracks that took a lead from the aforementioned era, not to mention TV series like Stranger Things, this couldn't be more appropriate, and what makes it so essential is that authenticity in audible - feeling like it belongs, rather than simply riding a bandwagon.

Review: Veteran Irish producer Lerosa is back with a new one this week on local imprint Lunar Disko. The Trust EP features six terrific tracks all delivered in his singular style. On the A side, it opens up with the experimental synth intro 'Who Can You Trust', followed by the moody, almost John Carpenter-ish soundtrack vibe of "Revelations' and 'Reborn'. On the flip over, he heads to Detroit on the sci-fi electro of "Condition 1" and the acidified computer funk of 'Slow Bear'.