Review Summary: Indeed.
Leftism is undoubtedly going to be the album that Leftfield will be remembered for. It's undeniable- the sublime nature of the electronic compositions on that record was lightning in a bottle; a display of such verve, prowess and command within the genre that it makes comparing a lot of other releases to it almost cruel. Nowhere is this statement more applicable than with other releases by Leftfield themselves, who, despite offering some great albums since, have never been able to quite live up to the ridiculously high standard set by their magnum opus. This Is What We Do, fourth full-length from the English duo, is undoubtedly the closest they have come, however. A sterling example of modern electronica with a buoyant flair for subtle interplay that elevates a number of compositions beyond their base elements, the record has a resounding sense of positivity and echoes the scope of Leftism in vision if not quite in practice. Make no mistake, this is a different sound to the former, and in a lot of ways to other releases by Leftfield too, but it still radiates the same sense of warmth and creativity, and although it doesn't reach the same level of quality as its legendary predecessor, it is a contained, vibrant experience; head-bopping and groovy in equal measure. As a simple illustration of the gulf between the records, I recently went to my local vinyl store to pick up a copy of Leftism as my own had become warped. The staff member at the counter complimented the selection, which led to a brief conversation, and then the question from him, 'have you heard their most recent?' This caught me off-guard, as I didn't know that the outfit had recently released any new material. I admitted that I hadn't, and was escorted to the electronic section and shown This Is What We Do, which was tucked away behind Leftism, of course. He described it as 'housey and bouncy', which prompted me to ask whether the release showcased the same level of variety as Leftism. At this point, he scrunched his face into an expression that can generously be described as 'conflicted'. This is the problem with assessing Leftfield releases; they will always be compared to Leftism. As the server's expression displayed, Leftism is in a league of its own. Once we can get over that hurdle, assessing Leftfield's other records becomes far easier, and their merits become far more visible and obvious.
Lengthy, but remarkably filler-free, This Is What We Do has a heart of progressive house with an exterior brashness that encompasses elements of deep, tech, electro, disco, fidget, trip-hop and psychedelic. These influences are not hugely pronounced as individual facets, but in tandem form a confluence of vibes that manifest as soulful grooves and uptempo energy. Nowhere is this better observed than on banger 'Making A Difference', which features a steady house beat set against a wonky, synthy bassline that has the air of an underground stormer but the energy of a stadium anthem. It captures not only the spirit of Leftfield's most enduring work but also the sense of progress that has pervaded their music as a central motif. Serving as a sister piece to this track is the sterling closer, 'Power of Listening', which uses chopped vocal lines, a cymbal-rich beat and nostalgic '80s synthline to create a distinctly modern piece of pounding house music. Despite the rousing nature of the musicality overall, the sense of warmth coursing through this number, along with much of the rest of the album's content, serves as the molten core enshrouded by the housey, techno sense of impressionism. It isolates a lot of the classic hallmarks of techno/ house and manages to build upon them through well-judged production choices, modern electronic tendencies and smart tips of the hat to artists like Simian and Underworld. Second abum cut 'Full Way Round' exhibits a similar sense of anarchic frenzy as 'Born Slippy (Nuxx)', with its purposeful, emphasized vocal track, pulsing beat and white-knuckle pace. The background instrumental strains that incorporate a grand melody to flank the strapping electronica works exceptionally well and adds extra dimensionality to the the classic influence of techno bombast. It feels familiar, but highly individual and thoughtful in its structure.
The more understated moments on the release also serve their purpose beautifully, being satisfyingly atmospheric and progressive despite their comparatively downtempo pace and simpler construction. 'City Of Synths' is pure '90s video game menu music with the crisp production aesthetic of a mainstream vaporwave hit. The fluxing bassline and warped synthesiser washes work together to craft a neon-bright, exciting and uplifting driving tune that, despite its repetitive nature, never outstays its welcome. 'Heart and Soul' has a similar vibe, albeit with more layers and relative abstraction to its electronic scribblings. It's a testament to the artists that in spite of the busyness of the piece overall, with elements being consistently introduced, it never feels over-encumbered or unnecessarily bloated; every aspect feels warranted and sleekly creates the vintage feel of a forgotten PC demo disc. The end of this cut makes use of a Middle-Eastern flavouring that does have a slight air of expendability and tackiness, but nonetheless merges well with the musical landscape and exudes artfulness in its implementation. Also being more considered in their pacing but distinctly more mainline in tenor are 'Pulse' and 'Rapture 16'; both are heady, and take tasteful cues from classic era electronica in their execution. 'Pulse' especially, with its sleazy, groovy bassline is an infectious, fist-pumping number with a huge bass backboard metronomically offsetting the skittish synths and rubbery foreground bassline. In contrast, 'Accumulator' is a balls-out stomper, that starts with thunderous abandon and progresses with ascending melodies and pleasantly unpredictable techno punctuations. It's not the most memorable piece on the release musically, but for its hard-hitting aesthetic and toe-tapping production, it's certainly one of the most entertaining.
Written during founder member Neil Barnes' recovery from cancer, the duo's first release in seven years is an exciting and entertaining beast. Anthemic rabble-rousers and lively lounge instrumentals sit shoulder-to-shoulder and there is very little decline in quality between the two, with the mood consistently diverting and pleasantly understated despite the forays into uplifting, progressive house tropes. The songwriting displays the delicately transcendental hubris of Leftism throughout its running time, and although it doesn't expand upon this creativity in the same way that made Leftism so enduring, the result is remarkably accomplished and full to the brim with conscious house beats and forward-thinking electronic strains. The album is certainly less boundary-pushing and more in-line with what is expected of a house record, but it still toys with convention and displays a smart sense of playfulness as it meanders around melody and rhythm with far more grace than any of Leftfield's other efforts, Leftism obviously excluded. The production is as crisp as a sunrise shot in 4K, distilling a vibe of hope and high-energy glee that transmits effortlessly in the melodies and chipper lyricism. Never does the release feel underwritten or bloated, a fact attested to by each track's consistent development within their running times, all the while keeping the buoyant hubris taut but slack enough to introduce new elements without compromising the integrity of the groundwork. Every aspect of This Is What We Do feels necessary and thoughtful, and the release earns its title by staking claim to a distinctive, likeable, and slick progressive house sound, rich in purpose and smart in execution. Leave your Leftism at the door, and this is a sidestep that you won't regret taking.
