Leave Land For Water

Leave Land For Water
Sink & Stove Records

Catalogue Number: SASR#21

CD

£3.03

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Out of the ashes of former Output Records electro-acoustic maverick The Boy Lucas, comes Bristol’s Leave Land For Water. Formed in their native city in the winter of 2003, the expansive quintet release their debut eponymous EP as the shadows begin to get shorter in September 2005, on the ever-informed Sink & Stove Records - home to up and coming groups from both sides of the Atlantic such as The Vibration, The Playwrights, Controller.Controller and The Organ.




Following being shortlisted in the top six groups at Dazed & Confused Magazine Annual Creative Awards, Leave Land For Water spent much of 2004 working on and taking what they do in the studio to the stage, playing numerous shows in and around the UK alongside Chicago-based art-core troupe 90 Day Men (Southern), Montreal-based group Fly Pan AM (Constellation), Leafcutter John (Planet Mu), Adem (Domino) and Clinic (Domino) amongst others, as well as playing at Bristol’s infamous Orange Ashton Court Festival.




Their eponymous EP, whilst retaining The Boy Lucas’ understated electro-glitches, is a more full-bodied affair, tethering rhythmic post-rock textures to dynamic, twisting song structures. From the crashing opener ‘The Cinders Spread,’ full of both warm pop sensibilities and angry, swarming guitars, to ‘Olad’ and ‘Dead Museum’ which weave washes of analogue feedback with insistent melodies and hushed vocals, whilst ‘Bonnie Banks’ is all crisp snare snaps and ragga-esque sub-bass. And if that wasn’t enough, there’s a King Seven Remix of ‘Dead Museum’, which mutates the original track in to a dead-cert indie dancefloor filler.




Leave Land For Water are: Lucas (vocals/guitar), Ollie (lead guitar), Tim (keys/effects/vocals), Tom (bass) and Simon (drums/percussion).




"The music had a charming sensitivity, as sonorous feedback and waves of psycedelia rolled into delayed (of the effected sort) action which left you floating above the clouds. The synth cyber bleeps ushered bass and drums into an ocean of sound. Portraying a kind of post teen-angst symphony with a voice not so unlike Chris Martin of Coldplay, Leave Land For Water had clean knifing guitar, structured in opposition to the floatiness which worked not unlike the tunes of Blond Redhead. Gorgeous stuff..."
Moles




"… informed by the likes of Hood, 90 Day Men… 'The Cinders Spread' is a great track driven along by a cool, bustling rhythm, whilst 'Olad' is a softer, dreamier track whose vocals remind me of Butterfly Child or The Sea And Cake."
Fat Cat




"A rock / bliss-out outfit with an amazing drummer, Ozric Tentacles style wig-outs, and the fact that everybody seemed to be plugged into this box of effects that the keyboardist was constantly playing with. They brought the crowd with them, who all disappeared almost as soon as they finished. Well worth it."
Slave To The Music
the cinders spread
olad
dead museum
bonnie banks
king seven rem
ix-deadmuseum