Juno Recommends Leftfield: February 2025

Review: Kraftwerk are as well known for their albums as they are their singles and the iconic 'Autobahn' is of course the name of both. It is a rather groundbreaking electronic gem originally released in 1974 and soon revolutionised music with its hypnotic synth melodies, driving rhythms and pioneering use of vocoders. The track - celebrating its 50th anniversary and here on 7" - alongside an album picture disc and new Dolby Atmos mix on CD, which seal the birthday celebrations - captured the essence of modern travel by blending motorik beats with atmospheric soundscapes to create a real electronic journey and sense of movement. It still sounds as futuristic now as ever, a record that truly changed the course of modern music forever.

Review: This posthumous release unveils a remarkable collection of previously unreleased tracks from an elusive artist who captured the attention of listeners in the late 80s and early 90s with her smoky, distinctive vocals and genre-defying sound. This album spans various styles with some tracks reimagining her most iconic hit in a new-wave style while others explore experimental soundscapes, showcasing the depth of her creativity. The album serves as a poignant reminder of her brief yet impactful career, marked by mystery and enigma after her sudden disappearance from the music scene. Alongside the release, a documentary offers an intimate look into her lifeifrom her early years as a taxi driver to her rise to cult status, and ultimately, her disappearance. This long-hidden music now provides a powerful reflection on the artist's life, blending brilliance and tragedy. Fans and newcomers alike will appreciate the opportunity to experience the full spectrum of her artistic legacy. The release comes on black vinyl.

Review: Civilistjavel! returns with a seven-track exploration of melancholic soundscapes, further developing the sonic territory charted in Brodfoda. Tomas Boden's work, released on FELT, continues to weave together beauty and dread, employing a deliberately slow tempo that conjures a sense of isolated, arctic air. This LP builds organically upon the foundations of Brodfoda. 'XIII''s unsettling hum transitions smoothly into the dusky textures of 'XIV'. The dewy ambience of 'XV' precedes the hypnotic, shadowy dub of 'XVI'. 'XVII''s windswept, acid-tinged interlude then segues into the introspective drones of 'XVIII'. The collection concludes with 'XIX', where Thomas Bush's crooning vocals offer a hint of dawn, intertwining with organs, guitars and subtle sound design. A powerful emotional impact through minimalist means, skilled storytelling at its best.

Review: This new one from our favourite US ambient outlet takes the form of a selection of long-form compositions from artists who are close to the label. As such it's a perfect reflection of its signature sound - deeply immersive soundscapes, slowly shifting synths and meditative moods made with a mix of hardware tools, guitars, pedals and even baritone vocals. It's named after a Norwegian term for warmth and intimacy, which certainly plays out from the evolving loops of 'A Whisper' to the textured melancholy of 'Canaan' and the reverberant drift of 'Coronation Ring'.

Review: An EP that takes you through elevated 80s-inspired coldwave and synth soundscapes, matching nostalgia with modern production and featuring a seamless fusion of proto-techno, EBM and synth-pop. Side-1 opens with Deborah Sasson & MCL's 'Danger In Her Eyes' (Curses Revamp), a thrilling reimagination of new beat and synth-pop. The addition of vocal samples elevates its vintage essence, delivering a futuristic gem that's both haunting and danceable. Next, Andi's rework of 'Philadelphia Five's Not Leaving Without Jerry' injects energy with its uptempo groove, merging EBM rhythms with a dash of disco flair for an infectious, club-ready cut. Side-2 starts with 'House Fatale' (Curses Revamp) by JWB Hits The Beat, an ode to late 80s synth-pop akin to My Life with the Thrill Kill Kult. Chopped vocals and melodic synths create a hypnotic, era-defining vibe. Finally, Stockholm Syndrome AU's revamp of 'Voyou's Houseman' leans into heavier industrial and EBM tones, blending them for a powerful conclusion. This collection is a great example in reviving and reinventing vintage sounds, offering a fresh perspective on timeless styles.

Review: This 30th-anniversary reissue of a key experimental release is a journey into the darker realms of electronic music, showcasing the duo's exploration of ambient, industrial and glitch-inspired soundscapes. The release features a stark contrast between the rhythmic, almost club-ready track, infused with danceable energy and the more experimental, glitch-heavy compositions that delve into an unsettling, ritualistic atmosphere. The latter, considered one of the duo's most daring works, uses manipulated sounds, haunting textures and a pervasive sense of sonic unease to create a deep listening piece. The reissue compiles rare material, including previously unreleased tracks, alongside the duo's final appearance under this project. Fans of avant-garde electronic music will appreciate the unique blend of rhythmic elements and abstract textures. While some may prefer later works from the duo, this collection remains a fascinating piece for those drawn to experimental, atmospheric music that pushes the boundaries of sound and composition.

Review: French cold wave act Corps Diplomatique are the latest to join the famous ranks of the Dark Entries family. Dans Ta Nuit is a compilation of tracks that were recorded between 1984-1987 after the band was formed in Marseille by Olivier Aubin, Marie-Eve Bensussan, Patrick Loubet and Nicolas Pelissie. They have remained enigmatic over the years and released just one 7" single in the form of 1988's 'Paradis I', while they also appeared on the La Muse Venale compilation. this super overview of their sound offers nine tracks, seven of which land on wax for the first time, and all of them are raw yet charged with tension. Tracks like 'Sin of Flesh' and 'Eros Phobia' are essential coldwave sounds full of both despondency and hope. A great introduction to an essential act.

Review: As well as being one of electronica's most distinctive, recognisable and long serving warriors, Richard James is a man of many surprises. From his massive Soundcloud dump in 2015-6, to this unexpected 2023 EP - which was his first fully released material for around five years and appeared without warning - he likes to stay several giant leaps ahead of his public. Across its four tracks, it showcases his unmistakable, queasily melodic touch while revisiting the roots of his drill 'n' bass sound with a modern twist. Opening with 'Blackbox Life Recorder 21f', the EP sets a reflective tone, its light breakbeat and melancholy melody underscored by 80s-inspired drum textures, evoking a wistful yet futuristic atmosphere. This track encapsulates the beauty of his signature style, fusing emotion with intricate production. 'Zin2 Test5' shifts the mood slightly darker, with crisp production and an optimistic undercurrent woven through its melodies. It feels like a contemplative counterpart to the opener, balancing light and shadow with finesse. The second side dives deeper into experimental territory. In 'A Room7 F760' is a fast-paced, broken-beat journey through eerie soundscapes and sinister rave melodies, teetering on the edge of chaos while retaining a hypnotic allure. Closing with 'Blackbox Life Recorder 22 (Parallax mix)', the EP ventures into dubstep territory with a deeper, growling bass and ominous undertones. a dubbier reinterpretation that offers a more textured, shadowy perspective. Black (box) ops indeed - as ever.

Review: Allegedly one of the first ever records to make use of sampling, Jean-Michel Jarre's seventh album Zoolook brought with it a unique vibe, one well worth looking back on in light of its latest Sony reissue. In terms of notoriety, Zoolook pales in comparison to the electronic music crackerjack's 1976-8 heyday, which saw to both Oxygene and Equinoxe; but this is understandable, as Zoolook came much later, and sacrificed the grandiose mood of otherworldly space-awe for an eerier menage of playful factory hits and cacophonous dance hubbubery. Perhaps this sound - a jankier one that grew in popularity in the mid 80s - was driven by Jarre's use of the Fairlight CMI workstation and sampler, an example of a piece of gear that had the power to define an entire sound. We'd venture to say that the titular "Zoolook" is a kind of gaze that, by virtue of us living in a machine society, makes animals of us all.

Review: A quadruple box set spanning recordings made between 1968 and 1980 on two-track Revox tape, these previously unreleased works showcase the hypnotic cycles and textural explorations that define kosmische musik. Using his signature Farfisa organ and Echolette tape delay, the pieces evoke the spirit of Roedelius' Selbstportrait series and collaborations with Dieter Moebius and Michael Rother. Rather than a strict retrospective, 90 feels like a timeless sound journey, blending cascading minimalist loops with the organic warmth that has inspired generations. Tracks are unnamed and unmoored from chronology, allowing the listener to experience them as fluid expressions of Roedelius's artistry. The music recalls the meditative brilliance of contemporaries like Terry Riley, while firmly rooted in the experimental ethos of early German electronic music. Released to celebrate Roedelius's 90th birthday, this collection is both a celebration and a rediscovery, offering a vivid portrait of a visionary artist. 90 is a masterclass in innovation and introspection, essential for fans of kosmische and beyond.

Review: A high-octane journey through the gritty world of 1960s and early 70s biker films featuring 14 tracks from unforgettable soundtracks, a raw, fuzzed-out ride that captures the energy and thrill of motorcycles tearing through the streets in classic cinema. Kicking off with Davie Allan & The Arrows' iconic 'Blues Theme' from The Wild Angels (1966), the album delivers a relentless barrage of hard-driving tunes, perfect for the rebel spirit of the era. The compilation dives into everything from the mind-blowing 'Changes' by East-West Pipeline to Les Baxter's exotic, atmospheric touch. The raw, high-energy tracks like 'The Stomper's Ride' and 'The Chase Is On' evoke the sheer intensity of high-speed chases, the heart-pounding tension of motorcycles racing through narrow streets, dodging danger with every turn. These tracks echo the exhilaration and freedom that motorcycles represent in cinema, amplifying the excitement of the ride and the chase. With contributions from artists like The Man-Eaters, Simon Stokes And The Nighthawks and Mike Curb, the collection is packed with thrilling, fuzz-driven instrumentals and adrenaline-pumping rock.

Review: Apta dives deep, crafting a sonic odyssey that mirrors the ebb and flow of a psychedelic experience. Gone are the predictable structures of verse-chorus, replaced by a free-flowing exploration of texture and timbre. Modular synthesis intertwines with analogue warmth, guitars shimmer and distort and even vocals make a surprising appearance, adding an ethereal layer to the immersive soundscape. 'Shiver' and 'Awash' stand out with their post-rock leanings, showcasing Apta's ability to blend ambient textures with twirly melodies. But, the journey takes unexpected detours with moments of gritty percussion and analogue distortion mirroring the emotional turbulence of a psychedelic plunge. This is a sonic tapestry woven from diverse influences, touching on post-rock, pop ambient and kosmische, yet ultimately forging its own unique path. It's an album that demands your attention, revealing new details and hidden depths with each listen. Prepare to be surprised, intrigued and ultimately swept away by Apta's most ambitious and rewarding work to date.

Review: Vienna's Johannes Auvinen, aka Tin Man, and Mexico City's Gabo Barranco, aka AAAA, make up DOVS. Their second album together moves in the direction of retro aesthetics, harking back to a time where charting the "out-there" psychogeographic terrains of life might have been simpler. Billed as a "strictly ambient" affair - contrasting to their last collaborative record Silent Cities, and its dance focus - this quaint synth-driven LP is demonstrates how one might use melody and gear-born timbre to flesh out an open, point-blank theme. From allusions to architectural design to nature to the Islamic philosopher Rumi, this record is a soft-spoken yet eloquent dalliance with simplicity, inviting us listeners to step out into the open.

Review: A serious showcase for Muslimgauze's mastery of hypnotic, Eastern-inspired soundscapes. Clocking in at over 75 minutes, the five tracks delve into a world of intricate rhythms, droning keyboards, and ethereal atmospheres. 'Sadhu' sets the tone with its hypnotic percussion and swirling melodies, while 'Shaheed' and 'Mosaic Palestine' build upon this foundation, their extended lengths allowing for deep immersion and sonic exploration. 'Ayodhya Skin & Stone', the album's centerpiece, is a sprawling epic that seamlessly blends traditional instrumentation with electronic textures, creating a mesmerizing tapestry of sound. 'Iraqi Opal' provides a contemplative conclusion, its delicate melodies and atmospheric textures leaving a lingering sense of wonder. A testament to Bryn Jones' ability to create immersive and transportive sonic experiences.

Review: Ocean Moon, the alias of Cornwall-based producer and Lo Recordings founder Jon Tye, presents his latest offering, an ambient electronic work imbued with a gentle positivity. Tye, also known for his work with the UK ambient duo MLO, explores themes of artificial intelligence and consciousness evolution throughout the album. Side one delves into AI through a philosophical lens, drawing inspiration from Buddhist perspectives and texts like 'The Physics Of Immortality' and 'Novacene'. Tracks such as 'Ways To The Deep Meadow' and 'Souls Fall Away' offer a refreshing counterpoint to the often-negative portrayals of AI, radiating a sense of optimism and possibility. Side two features two extended compositions created for visual projects. 'Made In Dreams', utilising AI technology, creates an ethereal, warm atmosphere and 'An Ending Full Of Light', composed for Vix Hill Ryder's Wild Edges film, evokes a sense of serenity and resolution. Subtle melodies and delicate touches help craft music that truly nourishes the soul here.

Review: Andy Stott excels at exploring the spaces between electronic genres and has gone for many years now, He is known for crafting a unique, ever-evolving sound and after experimenting with minimal techno and dub early on, he defined his style in 2011's Passed Me By, a world of grey tones, static and experimental rhythms. In 2012's Luxury Problems, Alison Skidmore's haunting vocals added a human touch to his artificial landscapes then with the now ten-year-old Faith in Strangers, Stott fused his signature sound with influences like trap and minimalism. Over 54 minutes, the album builds in intensity and is still unmatched in its originality and impact.

Review: French musician Julienne Dessagne is behind Fantastic Twins and here presents a new album inspired by the Greek myth of Theseus and the Minotaur. Adapted from her composition for the dance piece Meandres, the record is a textural world of leftfield techno, kosmische influences and cinematic soundscapes across five tracks. Along the way, we're told the artist explores mythology and symbolism while drawing from opera, film scores and literary works. Her set up included modular synthesis and layered vocals which lend things a rather psychedelic edge next to the strikingly atmospheric synths and subtle sense of unpredictability.

Review: Active now for some 40 years, Hiull's Andrew Chalk explores the quiet, intimate spaces between melody and texture, highlighting fleeting moments with a painter's touch heer across 15 tracks. While his previous release, Songs of the Sea, unfolded in long, in depth waves, Dioramas embraces succinct pieces in each composition showing a look into a world rich with hushed tones and slow-moving beauty. There's a gentle warmth that permeates much of the album, as if the music is unfolding in soft light. 'The Carrach' introduces a folksy lilt, its melody turning over itself like a jewel slowly spinning on a dial. 'The Changes' evokes a meditative solemnity with its rich, organ-led hymn, while 'Lonely House' closes the album with stretched, whispering strings that shimmer like reflections on water. These small but striking details never disrupt the album's stillness but instead highlight Chalk's ability to subtly shift focus, revealing new layers of depth in each listen. A master of texture and restraint, Chalk continues to refine his singular approach to ambient and drone, weaving together fragile yet deep soundscapes. On Dioramas, the British Andrew Chalk returns to the art of miniaturism, crafting delicate, self-contained sonic vignettes that feel like carefully composed dioramas in sound.

Review: Darren Cunningham, known for his work as Actress, continues to evolve with a striking, abstract mix of sound that blends fragmented beats, ambient textures and the odd burst of warmth. Moving away from his club origins, his latest album embraces a more experimental, collage-like approach, echoing the influence of Georges Braque. The music unfurls in unpredictable ways, weaving atmospheric elements like muffled techno pulses, gamelans and r&b vocal samples into an evolving tapestry of sound. Tracks shift from dark, granular tones reminiscent of Boards of Canada's more ominous moments, to bright, celestial glimpses of light. The juxtaposition of stasis and movement, dread and hope, is central to Cunningham's process, creating a unique sonic landscape of ebb and flow. The occasional playful moments, like the quirky synths of 'Dolphin Spray', add to the album's intriguing unpredictability. Fans of Aphex Twin, Two Lone Swordsmen and Boards of Canada will find familiar sounds here, though Cunningham's distinctive approach makes the experience feel like a scientific exploration of sound itself. With a subtle balance of tension and calm, the album draws listeners into a world of synaptic interplay, where every shift feels deliberate and rewarding.

Review: Berlin-based synthwave and dark disco band Dina Summer return with a sanguine new seven-track record, continuing their reputation for making 80s nostalgist music fans ever more ravenous for their distinct take on EBM and its adjacent styles. Following 2022's acclaimed Rimini LP, this freak zone of a record brings gravely detuned, yet DJ-ready instrumental backings and stiffly but passionately delivered vocal recitations to a modern production palate. This approach reaches its ultimate conclusion on the natural midpoint 'Alien', a track perhaps best describable as a hi-NRG number made in a cryoponic chamber and lent an extraterrestrial theme.

Review: Painter, musician, actor, director and producer. John Lurie has done a lot in his time, whether that's appearing in 19 movies, composing for 20 TV shows and films - including some of those he was the star of - or producing primitivist art work. Here, we get to engage with two of those back catalogues, even if only because these are scores to a pair of his most iconic flicks. Always cool and stripped, Lurie's stuff is the kind of experimental-leaning jazz that works so well when setting the scene. And this applies off screen, IRL too: pressing play here will only serve to create a mood wherever you are, no matter what you're doing. One of shadowy streets, yellow hued spots, smoky barrooms and dark backrooms, a sense of after hours exploration.