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Singles - Leftfield - Issue 578

Miri Kat


The Rest Is Noise

Considering this is a debut EP, you might want to add Miri Kat’s name to the ‘one to watch’ list this year. Busting out of the traps with a solid seven-track EP, Miri Kat takes influence from what many would view to be a mix of classic electronics from the Skam or Fat Cat era. There’s more than that, though. Much more. Bigger tech, richer abstract sonics, more production muscle and more intent. Dare we suggest (and it’s no surprise, as her day job is a musical instruments engineer) that we’ve witnessed a Delia Derbyshire protege? An outstanding opener.
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'A Body '


Never afraid to stray left-of-centre, the Cómeme imprint continues to release records of inspiration and introspection. This time it’s the latter, with seven dimly lit tracks that seemingly have bubbled up from Borusiade's consciousness. Check out the dystopian undertones of ‘Dormant’, an ‘almost’ homage to the score and soundscapery of John Carpenter, or the closer, ‘A Body’, an electronic mantra that witnesses Borusiade getting close to electronic heroines like Laurie Anderson or Annette Peacock. Super stuff.

Run Child Run

'Can’t Catch Me '


Given the unusual, idiosyncratic nature of this production, it’s no surprise to learn that this young multi-instrumentalist takes his musical cues from a host of far reaching sources. According to his press folk, his influences range from the “modal jazz of Coltrane and Davis to the classical Indian music of Nikhil Banerjee and Bade Ghulam Ali Khan, via the trip-hop of Portishead and the minimalism of James Blake”.That kind of covers it. But then again this truly kooky piece of electronic soul is strangely both ancient and future!

Space Captain

'Hours/Cells '

Tru Thoughts

If you’ve been searching for that next track on your modern yacht rock mix tape, then look no further. The extended version of 'Cells' has all the Balearic prowess that you would expect, before halfway through melting into a sunset guitar solo, that surprisingly works pretty damn well. Koko’s not dead! Amen! Sly5thAve add even more warm soul to the mix on ‘Blue’ too, which, with a few cute edits, transforms into a more textured affair than the original. More boom for your buck.

Ricardo Tobar


ESP Institute

Couple of immediate tracks to sate your musical souls with here. If you don’t mind the deep end, then jump straight in with ‘Star Alliance’. Counter rhythms, walls of sound, FX and percussion are the bedfellows in this cosmic meltdown, that trips out for a satisfactory nine minutes. If you're feeling like more of the organic, then head to lead track ‘La Dormida’, where Tobar throws down a percussive world groove that Matias Aguayo would be proud of.

Leah Lazonick

'Movimenti della Luna D’Oro'


You can kind of tell this talented Brooklyn based songwriter, DJ and producer is a film composer by trade, such is the way she delicately dispatches these four perfectly orchestrated pieces of contemporary piano and string based classical music. All of which are a joy to behold. Apparently she is also a connoisseur of analog synths and vintage drum machines, and will release a second EP focusing on these passions. Blimey! Where do I sign up?

Mother Of Mars

'Seed 2 Sky'

Ransom Note

Having already caught the trusted ears of folks like Andrew Weatherall and Trevor Jackson, this mighty slice of Kraut-inspired, trippy, proggy, Kosmiche - which weighs in a 10 minute plus - is a real mother in every sense of the word! Penned by US duo Vito & Druzzi: perhaps better known as the rhythmical backbone of NYC punk funk protagonists The Rapture, its no surprise this is such a killer cut as these two clearly know a thing or two about making great records.


'Voice Hardcore'

Mesh-Key Records

Another amazing experimental record greets us from the industrial and post punk era, courtesy of scene stalwart Phew. Composed entirely of vocal parts and electronic manipulation, it’s another sombre journey into the depths of the ambient dark side.

E Ruscha V

'Who Are You'

Beats In Space Records

By all accounts this LA musical stalwart is partial to the odd expensive synth or two. In particular the Yamaha CS-80, (Vangelis’s choice of synth for his Blade Runner score) which features heavily on his new LP: from which this cheeky little, laidback ditty is taken. Part exotic Hawaiian luau and part otherworldly, drifty, cosmic dreamscape, it’s pure sun-kissed escapism and offers a warm and welcome respite from these cold winter months. One downside though, its crying out for a nice vocal!