Editing Leftfield (section)

=== History ===

==== Origins and Early Singles (1989–1992) ====

Around 1989, inspired by [[Afrika Bambaataa]], Neil Barnes began experimenting with electronic music production. The result was "Not Forgotten", released on Outer Rhythm, a subsidiary of [[Rhythm King Records]] — the same label that was home to [[Bomb the Bass]], S'Express and Baby Ford. Barnes described the track as "the sound of 15 years of frustration coming out in one record." ''Mixmag'' applied the term "progressive house" to the record, and it became a significant presence in UK clubs from 1991 onwards.

A contractual dispute with Rhythm King prevented Leftfield from releasing new material under their own name for several years. During this period, Barnes and Daley took on extensive remix work for artists including React 2 Rhythm, [[David Bowie]], D:Ream, Renegade Soundwave, Ultra Naté, and [[Stereo MCs]]. They also worked with Djum Djum, a ragga singer, releasing a single called "Difference" on Outer Rhythm.

To regain independence, Barnes and Daley founded their own label, '''Hard Hands Records''', around 1992. Their first Hard Hands release was "Release the Pressure", featuring [[Earl 16]] on ragga vocals — a deep, bass-driven track that introduced a wider audience to Leftfield's dub-influenced house sound. This was followed by "Song of Life" (1992), a kinetic single woven from interlocking bass, scratched samples, and chanted vocals, which became one of the most-played tracks of the early progressive house era and was later used as the opening track on the landmark [[Sasha (DJ)|Sasha]] and [[John Digweed]] ''Renaissance'' compilation (1994).

==== Breakthrough: ''Open Up'' and ''Leftism'' (1993–1995) ====

Leftfield's mainstream breakthrough came in 1993 with "Open Up", a collaboration with [[John Lydon]] (formerly [[Johnny Rotten]] of the [[Sex Pistols]]). Barnes had known Lydon since he was 19 years old and had been pursuing the collaboration for approximately two years. The track paired driven acid house with Lydon's confrontational vocals and reached number 13 on the UK Singles Chart. It remains one of the most memorable intersections of punk attitude and dance music production.

Their debut album, '''''Leftism''''', was released on 30 January 1995 on Hard Hands / Columbia Records. Unusually for an album of its scale, it was financed entirely by Leftfield themselves to retain full artistic control; the major label deal with Columbia / Sony was secured only shortly before release. ''Leftism'' blended [[progressive house]], [[dub music|dub]], [[reggae]], [[techno]], [[breakbeat]], and ambient elements across eleven tracks, all featuring carefully chosen guest vocalists drawn deliberately from outside the dance music world:

{| style="border-collapse:collapse; width:100%; font-size:0.95em;"
! style="background:#333; color:#fff; padding:6px 10px; text-align:left;" | Track
! style="background:#333; color:#fff; padding:6px 10px; text-align:left;" | Guest
! style="background:#333; color:#fff; padding:6px 10px; text-align:left;" | Notes
|-
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | "Release the Pressure"
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Earl 16, Cheshire Cat
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Completely re-recorded from the 1992 Hard Hands single; slower and more atmospheric
|-
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | "Afro-Left"
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Djum Djum (theremin)
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Djum Djum played theremin live during performances
|-
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | "Original"
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Toni Halliday ([[Curve (band)|Curve]])
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Barnes was a long-time fan of Curve; described as a "sultry rock/electro fusion" by ''Q''
|-
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | "Inspection (Check One)"
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Danny Red
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Dub-influenced; later cited as an early blueprint for [[grime music]]
|-
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | "Open Up"
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | John Lydon
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Re-recorded and extended from the 1993 single; album version runs over 8 minutes
|-
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | "21st Century Poem"
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Lemn Sissay
| style="padding:6px 10px; border-bottom:1px solid #ccc;" | Ambient closer; spoken word over sparse electronic textures
|}

''Leftism'' was nominated for the [[Mercury Prize]] in 1995, losing to [[Portishead]]'s ''Dummy''. In a 1998 ''Q'' magazine reader poll it was voted the 80th greatest album of all time; by 2000 ''Q'' had placed it at number 34 in its list of the 100 Greatest British Albums Ever.

==== The Liveism Tour and Brixton Academy ====

The live tour that followed ''Leftism'' — known as the '''Liveism''' tour — became notorious for the scale and power of Leftfield's custom sound system, which was designed to replicate the cataclysmic bass effect of Jamaican [[sound system]] culture. The system incurred more noise complaints than [[Motörhead]]. In June 1996, during a show at [[Brixton Academy]], the volume caused dust and plaster to fall from the ceiling, resulting in a ban from the venue. Leftfield interpreted the ban as applying to the sound system rather than themselves and eventually returned to Brixton Academy in May 2000. The Liveism tour is widely considered to have elevated dance music from club PAs to major live event status in the UK.

==== ''Rhythm and Stealth'' (1999) ====

Recording of the second album was slow and difficult, with the pair struggling under the weight of ''Leftism'''s success. '''''Rhythm and Stealth''''' was finally released in September 1999 on Hard Hands / Columbia. Darker and heavier than its predecessor, it featured contributions from [[Roots Manuva]], [[Afrika Bambaataa]], and MC Cheshire Cat. The album reached number 1 on the UK Albums Chart and was shortlisted for the Mercury Prize in 2000, losing to [[Badly Drawn Boy]]'s ''The Hour of Bewilderbeast''.

The track "Phat Planet" became one of the most widely heard pieces of electronic music of the era through its use in the iconic Guinness "Surfer" television advertisement, which was voted the number one advert of all time in a 2000 Channel 4 poll.

==== Break-Up and Compilation (2002–2009) ====

In 2002, Barnes and Daley announced the end of Leftfield, citing exhaustion and creative differences. Their final release was a farewell mashup single, "Planet of the Phatbird", combining "Phat Planet" with [[Fatboy Slim]]'s "Bird of Prey", recorded live during a Fatboy Slim DJ set in Brighton. The greatest hits compilation ''A Final Hit'' was released in 2005.

During this period, Barnes and Daley also produced and contributed music to several film soundtracks, including [[Danny Boyle]]'s ''Shallow Grave'' (1994). The track "A Final Hit" appeared on the ''[[Trainspotting]]'' soundtrack (1996), while two tracks from the ''Leftism'' era appeared in the ''[[WipEout]]'' and ''WipEout 2097'' video game soundtracks.

==== Revival and Later Albums (2010–present) ====

In January 2010, Neil Barnes revived the Leftfield name. Paul Daley declined to rejoin, preferring to focus on his solo DJ career. Barnes assembled a live band including MC Cheshire Cat, Adam Wren on engineering and programming, and Sebastian 'Bid' Beresford on drums, and headlined major festivals including [[Creamfields]] and [[Electric Picnic]] in 2010.

'''''Alternative Light Source''''', the first Leftfield album in 16 years, was released on 8 June 2015 on Infectious Records. The album included a collaboration with [[Sleaford Mods]] on the track "Head and Shoulders."

'''''This Is What We Do''''' followed in 2022, featuring "Full Way Round" with vocals by [[Grian Chatten]] of [[Fontaines D.C.]] The album continued Leftfield's practice of pairing electronic production with guest vocalists from outside the dance world, presenting a sound informed by the band's original values while responding to contemporary political conditions.