In 1994 the UK music scene was dominated by Oasis, Blur and manufactured "boy bands". In these dark days electronic music fans were sustained on a diet of Björk and trip hop that never really left us satisfied. The occasional release by Aphex Twin or Moby managed to stop us succumbing to the temptation of Scooter or Real McCoy, but it was a close run thing at times.
"Leftism" was delivered to hungry electronic music fans like manna from heaven in January 1995. I can't begin to tell you how wonderful this album sounded when compared to the guitar driven dirges and Barry Manilow covers that filled the airwaves back then. Whilst this album finds its origins in dance music, it draws on dub, reggae, downtempo and progressive house to generate a unique and mesmerising experience.
Here I am listening to the remastered special "22" edition from 2017 which replicates the original triple vinyl. Personally I prefer the CD version, but there is so much good music here I'm sure I won't be disappointed.
"Release the Pressure" is one of the most awesome and atmospheric introductions to an album that I have ever heard. Earl Sixteen's vocal soon gives way to dub flavoured techno that cranks up in a hedonistic frenzy. There are lush pads to underpin the swirling VC3 style effects and churning rhythms that make this as perfect a letfield/progressive/dancehall/techno crossover as you will ever hear.
The second track "Afro-Left" fuses club beats with, what I always assumed to be a vocal by an African mystic called Djum Djum. Truth is that the vocals are simply improvised gibberish by a London based singer Neil Cole. Still, it's a great groove.
The flip side of the first LP delivers up "Cut For Life" which is an edit of the standout track "Song for Life". Most of the elements contained in the original version are here, but things have been shaken up and made a little firmer to satisfy the dance floor. It's a nice alternative take, but nowhere near as good as the version on the CD.
Next up is "Melt" which is a dreamy downtempo excursion set to a haunting mute trumpet and a sample lifted from The Art of Noise. This track offers irrefutable proof that Messrs Barnes and Daley could create supreme electronic music as well as beat driven dance tunes.
The beats return for the relatively short jaunt of "Black Flute" which ticks along nicely without outstaying its welcome. Toni Halliday of Curve provides the vocal for "Original" which plays a little too safe and panders to the trip hop trend started by Portishead, Tricky, Massive Attack and the rest. I bought the CD single of this back in the day but this was more out of loyalty than a love for the song.
Things get back on track with "Inspection (Check One)" which sees a welcome return of TR-909 hit hats and the dancehall vocals of Danny Red. "Space Shanty" sounds great coming from this vinyl and the bass drum kicks away in a relentless demonstration of the precise and punchy bass available from wax. So many synth effects and samples move in and out of this track you can't help but wonder at the creativity at play.
In what seems like no time at all we have moved onto the third disc and its opening track "Storm 3000". If I had to pick a low point for this album it would probably be here but the breakbeats and dub basslines aren't to be sniffed at. The dub continues with "Half Past Dub" which is a short piece that patches together various samples and quirky synths with limited success.
The final side of the album sees the magnificent single "Open Up" laid out as a nine minute extravaganza of pulsating synths, driving beats and a vocal by John Lydon. I'm not a fan of the Sex Pistols, punk music or even rock, but I have to admit I am impressed by Lydon's contribution here. I used to think the bassline on this song sounded impressive from CD, but it sounds simply amazing from this record. Having whipped us up into a frenzy, Leftfield bring us back down with "21st Century Poem" and the poetic words of Lemn Sissay.
This album is a classic of the genre and its influence is as broad as it is deep. For me this is so much more than dance music, this is electronic ear candy that saved us from having to chose between Britpop or Culture Beat. 5/5
