Back catalogue: Leftfield

Review: Bridging the gap between guitar-driven rock and ambient techno - they would later become the first artist to bring guitars to Warp Records - Seefeel skillfully blended electronic loops with post-psychedelic basslines, mermaid-like vocals from Sarah Peacock and intelligent percussion. Their debut album for Too Pure in 1993 was both ahead of its time and timeless, offering a quiet revolution of repetition and downtempo somnolent soundscape, a record that remains beautifully undated. Tracks like 'Imperial'. 'Industrious' and 'Charlotte's Mouth' demonstrate Seefeel's knack for using guitars as electronic complements, layering hypnotic smears of feedback with Peacock's intimate whispers. The eight-minute opener, 'Climatic Phase No. 3', floats with barely-there percussion and a lazy, dreamy melody, while 'Filter Dub' delivers a sublime, drowsy bass line perfect for slipping into sleep. The album's structure leans into drone and quirky ambience, creating an experience more akin to a dream state than a traditional rock record. Quique feels proto-IDM, a precursor to the ambient-motorik noise-pop aesthetic that artists like Tim Hecker and Mouse on Mars would explore. Seefeel's early work remains a blueprint for electronic experimentation, demonstrating that the band's forward-thinking approach helped define a genre that continues to defy easy categorisation. Quique is not just a product of the 90s - it's a sonic vision that still feels fresh and boundary-pushing today.

Review: One of three Seefeel re-releases arriving together - shining light on the band's mid-90s 'Warp years' - St/Fr/Sp is the only one of these that has really never existed in the past. Comprising two EPs, Starethrough and Fracture/Tied, the outing also brings in a very rare Autechre remix of 'Spangle', making for a package that's got collector's item written all over it.

Musically, this is around the moment when Seefeel began to fully embrace the abstract and electronic, having just signed to Warp, and while the shoegaze of their past remains audible there are so many influences here plucked from beyond that spectrum. Embracing ambient, drone, rave chill-out, dub, acid, and psychedelia, this edition reflects two ends of that world - the blissful and largely astral first EP, and beat-driven and highly rhythmic second.

Review: Seefeel's second studio album, their first for the feted Warp imprint, saw them expand on some of the ideas in their 1993 debut, continuing to embrace the lush soundscapes that typify shoegaze and rooting things in deep sub bass, while bringing fascinating new blueprints to the table.

Which isn't too surprising, given Succour landed in 1995, by which point the UK's rave scene had managed to find a way into almost every aspect of youth and pop culture. Far from a dance music album, nevertheless the record has clear acid house influences, from soaring vocal cries through to intoxicatingly loose types of syncopated rhythm crafted from heavily detailed percussive sections, with tracks like 'Vex' taking us all the way to IDM. Exquisite explorations so far ahead of their time they still sound new almost 30 years later.

Review: The re-appraisal of early Seefeel has been long overdue. We're not entirely sure why this hasn't happened before, but to put things into context this is the first time Ch-Vox has been available on vinyl since it debuted in 1996, sidling up alongside the band's other outings dating back to 1994, all of which came about through involvement with Sheffield and global electronic music institution, Warp Records.

Ch-Vox actually landed on Rephlex, the imprint founded by Warp regular Richard D James, AKA Aphex Twin, and Grant Wilson-Claridge. Taking us further into the chill-out rooms, Sunday morning comedowns and midweek meditative moods of UK rave, in many ways Ch-Vox is more complex in concept than its predecessor, Succour, helping establish an early framework for what we now know as drone.

Review: Out of many recent stirrings of hype (a sold-out Cafe OTO live show, numerous reissues of their Warp-era material, etc) Seefeel return with a renewed sense of solidity, delivering their first project since 2011. As ever with the pioneering electronica crossover band, Everything Squared combines the sonofantasmic dissociations of shoegaze and dream pop with the flashier and more sublime ends of Warp-era electronica and ambient dub. Mainly composed and performed by the core duo of Mark Clifford and Sarah Peacock, with bass on two tracks from Shigeru Ishihara, the record is a finely hewn intonarumori, working in original, but heavily pitch-bent vocals around light, but still scapular sound beds. An implied throwback to the chillout rooms of yore, the distinctively hoary hum of 90s analogue ambient still rings as truly as ever here.