Artist Search Results
About Leftfield
The production team which brought house music back from the brink of commercial mediocrity, Leftfield made it safe for artistic producers to begin working in a new vein termed progressive house. Paul Daley (a former member of A Man Called Adam and the Brand New Heavies) and programmer Neil Barnes combined the classic soul of early Chicago and New York house with the growing Artificial Intelligence school of album-oriented techno to create classic, intelligent dance music. When legal hassles over ownership of the Leftfield name prevented the pair from recording their own music after the release of their debut "Not Forgotten," they turned to remixing, establishing their early reputation for reworking tracks by artists ranging from Stereo MC's and David Bowie to Yothu Yindhi and Renegade Soundwave. Finally, with their courtroom battles successfully behind them, they formed their own Hard Hands label in late 1992 and issued the single "Release the Pressure," featuring reggae vocalist Earl Sixteen; "Song of Life" followed, and in 1993 Leftfield scored their first major hit with "Open Up," recorded with John Lydon. Their debut LP Leftism was released in 1995; the long-awaited Rhythm and Stealth followed four years later. With only two albums under their belt, Leftfield decided to split in early 2002 to focus on solo projects. ~ Jason Ankeny, All Music Guide
Leftfield's Discography (2)
Compilations Featuring Leftfield (20)
| Renaissance Anthems | Ministry Of... |
more
|
|
| Wonderland | Ministry Of... |
more
|
|
| Oakenfold Anthems | WMTV |
more
|
|
| Dave Clarke Presents Remixes & Rarities... | N.E.W.S. |
more
|
|
| Cream Summer 2006 | Ministry Of... |
more
|
|
Shazam Recommends...
Shazamers Who iD'd Leftfield
| Featured Review | |
|
|
Kids MGMT |
| With 2005's "Time To Pretend" MGMT created a musical moment that would resonate for the next three years, putting it amongst the creme de la creme of new millennium indie anthems. With latest single, "Kids", MGMT fail to scale the heights they did with their first single, but still deliver a track that has met with strong approval from such critical sources as Pitchfork media, Zane Lowe and, surprisingly, dance music bible Mixmag who cited it as one of their "tunes of the year". Sporting an overridingly childlike melody that shimmers due to the interesting use of a distorted stylophone, the track washes over the listener thanks to the great use of a Gary Numan-esque synth line. This is all brought to the fore on the new remix by Belgian dance maestros Soulwax, who turn the muted indie cool of the original into an irrepressible club monster. If any evidence is needed, here is a clip of Erol Alkan playing the track at the recent Pukkelpop festival. Quite simply, amazing! | |
|
|
|

more
more