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Warmduscher

Tainted Lunch

    Warmduscher return.

    Heavy metals.

    Disco Peanuts.

    CCTV in the break room.

    A little something to get you through the week. There’s enough to go around. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback. Try it with the boom bap tapenade. Here for a good time, not a long time.

    If you made your way out of Whale City with your faculties intact, this one’s for you. Clams Baker, Lightnin’ Jack Everett, Mr Salt Fingers Lovecraft and The Witherer have been joined by Quicksand on cutting board and cheese wire and commis chef Cheeks on vibes. They’ve been cooking. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real.

    Band biographer and revered botanist Dr Alan Goldfarb describes the album as “a sample hole through which to taste another universe. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment – the refusal of exploitation.”

    Tainted Lunch was recorded in just four days, with soupe du jour Dan Carey (Kate Tempest, black midi, Fontaines DC). Warmduscher continue to live on their razor-sharp wits. Or as Clams Baker puts it “there’s no way to stop now”. Delivering the goods you never knew you needed.

    If you can’t stand the heat, get out of the kitchen.

    FORMAT INFORMATION

    Dinked Edition LP Info: Transparent pink vinyl LP.
    Bonus glow in the dark vinyl 7” with two tracks exclusive to Dinked Edition.
    Double sided poster.
    Printed inner sleeve.
    Individually hand-numbered.
    Limited to 400 copies.

    Coloured LP Info: Indies exclusive red vinyl with poster.

    LP Info: Black vinyl.

    Sarathy Korwar

    More Arriving

    Born in the US, raised in India and resident in the UK, Korwar has established himself as one of the most original and compelling voices in the UK jazz scene, collaborating with the likes of Shabaka Hutchings (The Comet Is Coming), clarinettist Arun Ghosh and producer Hieroglyphic Being

    Korwar’s debut Day To Day (Ninja Tune, 2016), combined the folk rhythms of India’s Sidi community with contemporary electronics and jazz textures, earning praise from the likes of Four Tet, Gilles Peterson and Floating Points.

    We live in divisive times. Multiculturalism rises hand-in-hand with racial tensions, and politicians seem powerless to even bring people within earshot of their convoluted message. It’s time for a different perspective.

    On his second studio album, More Arriving, Sarathy Korwar blasts out his own vibrant, pluralistic missive for the world to hear. This is not necessarily a record of unity; it’s an honest reflection of Korwar’s experience of being an Indian in a divided Britain. Recorded over two and a half years in India and the UK, More Arriving draws on the nascent rap scenes of Mumbai and New Delhi, incorporating spoken word and Korwar’s own Indian classical and jazz instrumentation. This is a record born of confrontation; one for our confrontational times.

    With this album, Korwar expands his politicised narrative to envelop the entire diaspora. “This is a modern brown record. The kind of record that a contemporary Indian living in the UK for the past 10 years would make,” Korwar says. “This is what Indian music sounds like to me right now.”

    It all begins with the title: “More Arriving comes from the scaremongering around Brexit,” Korwar says. “It’s a tongue-in-cheek play on the fact that there are more people coming and you’ll have to deal with it!” Through this defiance, Korwar takes clear pride in the knotty mix of his identity – harking back to the new India of the Mumbai hip-hop kids, as well as identifying with London’s cultural diversity. “I want the idea of brown pride to come through,” he says. “My voice is one amongst a thousand, but this record is a snapshot of something much greater than myself. It’s the chance to send a message.” 


    STAFF COMMENTS

    Barry says: A highly political record, fitting in perfectly between the colourful sounds of modern India and the UK's flourishing appreciation for nu-jazz and hip-hop. Korwar has managed to craft a brilliantly immersive LP, seamlessly segueing between genres while retaining the parts of each that make them great. A true melting pot, and a necessary political statement.

    FORMAT INFORMATION

    Coloured LP Info: Indies only transparent red vinyl with download and postcard.

    Laurence is one third of Szun Waves, who released their second album New Hymn To Freedom last year to critical acclaim.

    “I hope,” says Laurence Pike, “the listener is as excited – and at times confounded – by this music as I am.”
    Holy Spring is an “article of faith” for Pike, expressing the sense that “The ritual of performance can transcend the confines of style, structure and concept to connect with something universal.”
    The name of the album is beautifully ambiguous, evoking a wellspring, but also rebirth, and more besides. It sounds constantly, effervescently fresh, just as it should when its creation was a series of surprises to its own creator. And that happens not just with one listen, but with many: each time you hear it, it’s as if this music has been created anew. The listener, just like the musician, are privy to what Pike describes as “the music simply playing itself, achieving what I now understand to be, and can only describe as ‘freedom’.”
    Improvisation has played a role throughout Pike’s long and diverse career in music. Whether as part of PVT, Triosk or Szun Waves, or collaborating with Liars, legendary jazz pianist Mike Nock, DD Dumbo or the mighty Bill Callahan, he has long been a responsive musician for whom sensitive listening leads to spontaneous invention. Every motion, from the most minuscule flicker to a primal groove, is an expression of what’s happening around him. Which is precisely how he, and the ensembles he’s been part of, have been able to navigate so deftly between the poles of the familiar. Pike’s work has always skirted around electronica, spiritual jazz, post-rock and many other recognisable sounds, without ever converging on one single style or resorting to obvious fusions.


    FORMAT INFORMATION

    Coloured LP Info: Strictly limited edition transparent blue vinyl for indie stores only.

    Snapped Ankles have taken on the guise of the very agents of their community’s demise – the property developers and brokers who heat the market on the promise of ‘Stunning Luxury’. With their adopted warehouse habitat under constant threat, the woodwose have taken this sharp-suited incarnation in order to infiltrate. The resistance starts here.

    From humble forest beginnings via bohemian East London on debut album Come Play The Trees, Snapped Ankles are moving on. The log synths have been transformed into gaudy “To Let” and “For Sale” signs, which have become the new instrument of choice for the discerning woodwose. The sounds they eke out of the housing bubble are as frenzied and unstable as you’d expect. Dystopian bangers. Illicit thrills. Stunning Luxury moves quickly through life in the capital: microdosing mindfulness in the morning, a poisoned nod to the marketing department, investment portfolios and death by same day delivery.

    The primal rhythms and forest chants are all present and correct. On the surface it’s hedonistic business as usual – a communal dance for the ages. But there’s a sense of discomfort too. There’s subversion, but it’s not clear who’s subverting who. There’s a message, but it’s often fragmented. Keep dancing. Keep foraging. Perhaps the woodwose are human after all…


    Sometimes in improvised music there can be a distance between listener and players, a sense you’re sitting back and admiring their interplay and abstraction – but with Szun Waves’ second album, you’re right in there with them, inside the playing, experiencing the absolute joy the three musicians feel as they circle around each other, exploring the spaces they’ve opened up.

    The three members already have sparkling pedigrees of their own. Norfolk’s Luke Abbott is well known for his explorations of the zones between pure ambience and the leftmost fringes of club culture. With Portico Quartet and Circle Traps, Jack Wyllie has been in the vanguard of UK fusions of jazz, classical and club music. Australian drummer Laurence Pike has likewise found a unique voice in improvised and experimental music-making, whether in the bands Triosk or PVT, or as a solo artist.

    The trio’s musical relationship has grown naturally and steadily, and it shows. From Wyllie adding shimmering sustained sax notes to Abbott’s gorgeous ambient pieces in 2013, Szun Waves emerged when Pike was added to the mix, energizing the sound but still keeping its levitational qualities. Their 2016 self-released debut album hit a natural groove, and now they’re in a place of pure spontaneity: "New Hymn To Freedom" is a document of six entirely live improvisations – no edits or overdubs – and its title couldn’t be more apt. 


    Features the track ‘PNO' released to coincide with Piano Day 2018 (it made Nils Frahm’s official playlist).

    3PE is the first in a series of releases by Portland, OR, based Luke Wyland under his new LWW moniker. In contrast to his previous work as AU, these are spontaneous explorations in repetition, alternate tuning systems and, for the most part, tempered minimalism.

    After the spiritual rush of ‘CTP’, there are never more than two or three sounds interacting. Unadorned single takes unfold organically to explore the textural and rhythmic possibilities within those limitations.

    Each piece has a distinct palette; from the rolling triumphant piano polyrhythms of ‘PNO’ (included on Nils Frahm’s official Piano Day 2018 playlist) to the unsettling oblique synthesiser angles on ‘DTE’ – Wyland stretches the boundaries of cadence and melody before snpping it all back into line. A direct link can be drawn from the tuned percussion work of ‘PRC’ to AU’s contribution to the influential Tradi-Mods vs. Rockers compilation series, which features the likes of Deerhoof and Juana Molina’s takes on the ‘Congotronics’ music of Kinshasa.

    Many of these recordings date back to the period shortly after AU’s final release Both Lights. The bubbling energy remains, while Wyland’s musical dexterity is all the more startling in these stripped down, unrestricted forms. “There’s a certain fleeting magic to capturing unselfconscious improvisations to tape,” Wyland explains. “A quality that is often lost when tracking an album you intend to release to the public.” Opening epic ‘CTP’ serves to bridge the gap between AU and LWW – “the first track is the only improvisation that I’ve dissected and evolved into a more maximalist composition. The rest of these songs are simple one take snapshots into my process of research - essentially conversations with myself.”


    "Distant Early Warning" is the debut solo album by Australian drummer, percussionist and composer Laurence Pike. For the best part of two decades Pike has operated at the cutting edge of the electronic and jazz music worlds, releasing albums to critical acclaim and touring the world with his bands PVT (formerly Pivot), Triosk and Szun Waves, and featuring on numerous albums, tours and soundtracks as a collaborator. On "Distant Early Warning" he carves himself a moment of reflection. The calm in the eye of the storm. An ominous portent as the rocks appear on the horizon.


    Originally conceived as a technological and spiritual jazz suite for drums, "Distant Early Warning" is a series of solo performances for kit and sampler recorded live in a single day. 'For a long time I’ve been feeling there’s a central part of my musical voice that didn’t have an outlet,' Pike says. 'So this album is definitely a product of inner necessity.' 


    Colleen

    Les Ondes Silencieuses

      Her classic second album The Golden Morning Breaks and final Leaf release Les Ondes Silencieuses have long been out-of-print and are much sought after.

      On Les Ondes Silencieuses (2007), viola de gamba (a rare stringed instrument) acts as the hub to this highly personal, baroque-influenced album, which also features spinet, clarinet and classical guitar.

      Colleen (Cécile Schott) is as popular as ever with a new album due soon, and her 2015 album Captain Of None (Thrill Jockey) featuring in many end of year lists including Uncut, Rough Trade, NPR, New York Times, The Quietus and KEXP.



      FORMAT INFORMATION

      Ltd LP Info: Black vinyl edition - only 300 pressed!

      Ltd LP includes MP3 Download Code.

      When the city starts to encroach on the forest, nature will find a way to reclaim what is rightfully hers. Snapped Ankles come as messengers. On debut album Come Play The Trees they hold a mirror up to us. They’re here to plant the seed. They’re here to have a good time, but never at the expense of their natural habitat.

      Snapped Ankles have emerged from the woods clutching an album that feels simultaneously modern and ancient. This is what dance music will sounds like when computers finally fail us. Log synths, bass guitar and sticks on taut animal skin coalesce to form fearsome primal rhythms. Fuzz guitars rubbing up against dirty rolling arpeggiated synthesisers to ignite wild white noise fires. Forest folklore passed down through generations, has made its way onto the tracks. Subjects veer from dystopian futures to railing against Swedish flat-pack furniture, from the films of Jean-Luc Godard and Andrei Tarkovsky to throwaway YouTube comments. High art and cultural detritus are all fair game - a brave new world indeed.

      • This is Snapped Ankles debut album

      • Since relocating to bohemian East London, the woodwose have integrated seamlessly into the creative firmament, setting up camp at the Total Refreshment Centre

      • The videos for singles ‘Jonny Guitar Calling Gosta Berlin’ and ‘I Want My Minutes Back’ offer a glimpse into the off-kilter art-house minds of Snapped Ankles and display a certain preoccupation with spaghetti

      • A dish best served live: wildmen dressed in ghillie suits coaxing unholy noise from a forest of logs, wires, drums and guitars.


      STAFF COMMENTS

      Barry says: Throbbing pulses, primal melodies and fiery aggression spew forth from the newest Snapped Ankles outing. It’s as if they were born to make this sound.

      'Moogmemory' is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

      Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

      Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

      The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

      Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

      Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

      STAFF COMMENTS

      Barry says: Bringing to mind the more ambient, beat-less works of Alessandro Cortini (or indeed Nine Inch Nails), or the early electronics-heavy compositions by Nils Frahm ; Moogmemory is unsurprisingly, unashamed synth-worship. Through the impeccably textured compositions and characteristic, classic sound of a legendary instrument, this collection is breathtaking.

      Melt Yourself Down

      Live At The New Empowering Church

        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Finally! The horn-wailing, mic-swinging, percussion-overloaded, call-and-response explosiveness of the Melt Yourself Down experience is captured on plastic in all its sweat-drenched fury
        This Record Store Day exclusive LP was recorded at MYD’s sold out show at The New Empowering Church in east London late last year: “the house band from hell” in the house of GodA raw and ragged document of sweet sonic violence in a small room, it’s a strobelit snapshot, warts and all, captured for you

        MYD twist jazz, punk, funk and afro-beat into strange and brilliant new shapes
        They’ve kept raising their game since the release of their self-titled debut album in June 2013 (appearing on Later… and hitting the album of the year charts in Rough Trade, Time Out and more), and will appear on festival stages throughout the land this summer. The campaign begins with shows at SXSW and in New York in March, and club nights with MYDJs will follow ahead of the festivals - all confirmed dates below. Strictly limited edition Record Store Day vinyl LP (900 copies for the world) also includes a download of the live album. The LP is packaged in a new, dayglo variant on the already iconic album artwork. MYD have already started work on their second album. Don’t take your eyes off them



        Dancing is songwriter, multi-instrumentalist, producer and performer Nancy Elizabeth’s third album, and her first new material since 2009.

        Nancy wrote and recorded almost everything herself over the course of two and half years in her tiny home studio in Manchester. For the first time Nancy used a computer as a compositional tool alongside her idiosyncratic palette of instruments, including a battered piano, guitar, and her own multi-layered vocals. The end result is more ambitious, more focused and more uplifting than anything she’s done before.

        While the adventurous sounds she used create a mesmeric physical effect, the emotional purity of the lyrics is just as powerful . First single ‘The Last Battle’ opens the album, a magnificent introduction to its trove of pure musical delights. A soaring, celestial-soprano array, the song recalls Ennio Morricone and Arthur Lee, building to an irresistible climax.

        Featuring artwork created by Nancy herself, the album will be available on CD in a gatefold card wallet, and on limited edition vinyl LP (including a CD of the album).


        Almost four years in the making, Chicago trio Volcano! have delivered the long-awaited follow-up to 2008’s celebrated Paperwork album. Their outstanding third offering, Piñata, is well worth the wait - by any measure it's their best yet.

        Piñata is the sound of volcano! past distilled into a most potent formula for the present: unsparingly concise, stickily melodic, lyrically stronger and stranger, darkly humorous, ferociously driven, fabulously inventive. Clocking in at just over 40 minutes, the album has an aggressive energy that’s as exciting as it is unpredictable. It’s leaner and meaner than its predecessors, with the themes behind the songs drawn from more familiar sources. “They're mainly based on weird fantasies,” says frontman Aaron With. “Our goal was to tell stories with strange but universal sentiments.”

        The fantasies that form the foundations for certain songs are hardly commonplace musings on love and life. ‘Child Star’ imagines its protagonist (re)born with all the skills and experience of a previous life, gaining competitive advantage over a helpless peer group. ‘St. Mary Of Nazareth’ takes the listener on a tour of a spaceship disguised as Catholic hospital, where the nurses are nuns, and the nuns are aliens. Lead single ‘Piñata’ is a petty vision of posthumous karmic retribution, while ‘Fighter’, the album’s dramatic centrepiece, is a violent revenge fantasy set to music. But while the songs can be complex conceptually, the incisive compositions ensure they effortlessly get under your skin.

        More immediate than anything the trio has crafted before, it makes perfect sense that at the time of writing Piñata, volcano! were indulging themselves on radio hits alongside a steady diet of music from the outer reaches of the spectrum. Meanwhile the band has lost none of the playful, idiosyncratic elements that make them unique. “We kept the weird energy, the melodic tension, and the neurotic rhythm,” says With, “but we’ve made the framework a little more decipherable.” Not a second is wasted as volcano! gleefully take a baseball bat to musical convention in the name of great pop.

        Aaron With (vocals, guitar), Sam Scranton (drums, percussion) and Mark Cartwright (synths, bass) formed volcano! in 2003, and have stockpiled critical acclaim since the beginning. Their debut album Beautiful Seizure (2005) was awarded 10/10 by Drowned in Sound and was dubbed the “soundtrack to the Bible” by Fader; Paperwork garnered four stars in Mojo and Uncut, and the video for ‘Africa Just Wants To Have Fun’ has notched up 200,000 views. The two albums have become cult favourites among those fortunate enough to hear them, and the sense of anticipation for Piñata is palpable.


        AU are Portland, Oregon-based duo Luke Wyland and Dana Valatka. 'Both Lights' is AU’s third album and first for The Leaf Label, a joint release with US label Hometapes

        'Both Lights' is the closest their recorded incarnation has yet reached to the blissful force of an AU live show, while expanding outward in new directions. Since 2008’s 'Verbs' album, AU have slimmed down to an extraordinarily potent two-piece live band, with Valatka on percussion and Wyland taking care of everything else: vocals, keyboard, sampler, lap steel, banjo and melodica (often two or more at once). Wyland’s rich baritone takes centre stage on 'Both Lights', a one-man tug-of-war with love, loss, pain, anger and desire, while the music behind him flits with gleeful abandon between styles - choral folk, ferocious jazz-punk, wild percussive workouts, sumptuous indie-pop.

        AU contributed a track to the Tradi-Mods vs. Rockers collaboration in 2010, which featured versions of tracks by Konono No.1 and Kasai Allstars. The Congolese bands’ influence is strongly evident on 'Both Lights'.


        The ‘Solid Gold’ 7” is limited to 500 copies for the world (just 150 for Europe), and is a joint release by The Leaf Label and Hometapes. Pressed on transparent yellow-orange vinyl, it’s packaged with full-colour transparent cover art in a heavy PVC sleeve, and includes a free digital download.

        Luke Wyland and Dana Valatka, the Portland, Oregon-based duo known as AU, embody a remarkable, cathartic energy that is immediately apparent on ‘Solid Gold’, the first single to be taken from their forthcoming album. Both Lights will be AU’s first album for The Leaf Label (released by Hometapes outside Europe). Fortifying Valatka’s adrenalised percussion and Wyland’s soaring vocals and multi-tentacled performance on keys / guitar, is man-machine Colin Stetson on alto and bass saxophone. The B-side, ‘Under / Epic’, is a reinterpretation of the album’s opening track, taking Stetson’s wild wind a notch higher and into the brightly lit stratosphere.

        AU reflect that light. ‘Solid Gold’ is the first taste of a sweeping aural experience that captures Wyland and Valatka’s journey through three years of love, loss, and levity. “The back and forth, the tug of war for love,” says Wyland, getting at the root of ‘Solid Gold’, in essence a love song, “exhausting, exhilarating, and so totally not sustainable.” Like the best songs, in some way or another, we can all sing along to that.


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        This Sunday (August 25) we are down @ThePilcrowPub next to the CIS building celebrating the launch of our new beer… https://t.co/ng2LNvz2SY
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