Back catalogue: Leftfield

Review: German band Kreidler reach the rather significant milestone of a fifteenth studio album here with Spells And Daubs. By now they are masters of their form, which is a mix of electronica and krautrock but with hints of influence from British pop music. The rhythms are bendy and dubby, ever evolving and alluring from the off with well defined lines and lots of little details all fleshing out the grooves. Dark melodies never grow too foreboding as clicks, whirrs and hits swing to and fro over the top. It is a trance including record that demands close listening on a good system for maximum effect.

Review: Kreidler return to Bureau B and not without good reason. Their seventh outing on the highly respected label follows suit on previous exploits, exploring some outer limits of cosmic-leaning, guitar-led, electronically augmented stuff. Tracks that feel made for the hidden dancefloors of weird basements as much as the soundtracks to avant garde science fiction. And if that's too much of a stretch, let's just say 'mesmerising' and have done with it. Comparing and contrasting the warm bleeps and filtered hooks of 'Diver', for example, with 'Tanger Telex' and its strange, smoky brass trip into downtempo smoky heaven serves as a quick example of just how broad yet coherent Twists is. As does 'Arthmetique', a strange, patient thing of rhythmic licks and spoken word, when considered next to the fuzzy, dub-tech-meets-math rock of 'Mount Mason'.

Review: Club scene doyen, dance music veteran, and rave culture hero Johannes Auvinen opts to depart from the dance floor, at least for the time being, and deliver Arles - an ode to the other side of the electronic-acid scene, those sounds that make most sense after the chaos and carnage of a party have subsided and you're safely home on the couch with you and yours and all dearest.
And it works as well as it should, with the experience both of living in that world and making anthems for it clearly evident in the overall production quality and ideas. Arles is a warm blanket, that friendly therapist, an album that understands where you've been because it was there too. Remarkably, despite what that may suggest, this is not ambient or particularly leftfield stuff. Instead, it's rhythmic, pop-infused electronica goodness, for want of a more succinct, less awkward turn of phrase.

Review: Detlef Weinrich is back with his fifth full-length album under the Tolouse Low Trax moniker. Now based in Paris after leaving Dussledorf, he heads in something of a new direction and brings heavy yet velvet sounds which replace the rawness of his earlier work. Tracks on Leave Me Alone bring razor-sharp rhythms to drifting cosmic melodies, there are slow and industrial drones and haunting pads, a signature sense of drum funk and much more besides. This is a great new sound for an artist always on the move.

Review: It has been two years since the first 'Sowas Von Egal' compilation arrived courtesy of Hamburg label Bureau B and Hamburg party series Damaged Goods. The world is unrecognisable compared to then, but diving headfirst into a bunch of obscure tracks from one of Europe's countercultural epicentres, recorded during one of the country's most troubled but fascinating and creative periods, is still a wonderful experience. While tracks here veer from having one foot in indie punk to full blown electronic assaults, the energy levels are consistent throughout - in short, they all pack a punch, whether it's the runaway juggernaut of Vono's 'Fred Der Ritter' or the frenzied looped bleeps on 'Steig Den Luis Trenker' by 4712. Similarly, with distortions, fizzes, crackles and all manner of other audible DIY tells, it's hard to argue with the fact that everything here puts artistry first and foremost, giving commerciality short shrift.