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Leafblade - Interview

Interview with: Sean Jude
Conducted by: T.V.

Liverpool UK-based 4-piece Leafblade launched skyward in 2003, growing out of their initial incarnation as UK masters of the theatrical and the unique, Valle Crucis, active during the 1990s; a dynamic, often volatile mix of fiercely progressive rock and pagan metal, conflated with lush passages of orchestration, breath vocal and virtuosic refrains worked on classical and acoustic guitars. This arena was vocalist/guitarist Sean Jude’s and bass player Kevin Murphy’s first stomping ground, outing their unique, and ever-critically acclaimed work both privately and under the auspices of almost continuous minor deals. Since its inception as Leafblade, the band released two full lenght albums, Beyond, Beyond in 2006 and The Kiss Of Spirit And Flesh in 2013. But there's a lot of things behind Leafblade and bands frontman, vocalist and guitarist Sean Jude, a poet, who's truly a musical treasure trove, revealed a lot of interesting things regarding the band, their past and future, meanings and concepts behind both albums, constant endeavours in reaching the perfection, stories often intertwined with Anathema dudes amongst others. So, take some time and read this insightful interview, but most of all make sure, if you haven't yet, to discover this amazing and unique band.

T.V.: Hi Sean, how are you? First of all tell me what's going on in the Leafblade camp right now? Have you already begun working on new songs?
Sean: Hello to everyone reading and to one and all at Terra Relicta! All's well at the Leafblade camp. We're always busy rehearsing, expanding repetoire for the live set, doing whatever promotion we can and looking at new things to record. I've written a thousand or more pieces, and we work together on other stuff, so there's a lot to choose from! Leafblade have plans to record an acoustic EP in late autumn, and already have listed a few songs for the new album to follow on The Kiss Of Spirit And Flesh. We'll have to wait and see what our record company, Kscope, say about the schedule! For the moment, Leafblade are working towards a few coming Viking and Medieval festival gigs in England, and a few Healing Festival shows in Scotland, over the autumn.
T.V.: So, very busy times in front of you. Still, I want to dig a bit deeper and want to ask you for more details about the EP you mentioned and as well about the upcoming album, maybe some titles, anything?
Sean: I usually keep my cards close to my chest, Tomaz – there are invividuals not too far from Leafblade who have a vested interest in what I produce and discuss. But, sir, you heard it here first! The EP will probably be a short acoustic piece with lavish vocal harmonies... the one true summer of the butterflies perhaps, thrilled with glissando guitars and rhythms, or a Pagan Celtic wedding, deep in the wildwood. Themes in Nature's depths, but relevant to the human condition: the brief duration of our lives, and how we celebrate it. It is not a conspiracy against us, but something we move through and adapt to, whether it be the one true dance of the butterfly, or our own brief, metaphorical summer. The Pagan theme celebrates the power of the Celtic consciousness and the majestical 'faerie' themes (like 'The Hollow Hills') of the English sixteenth-century poets.
T.V.: It's been quite some time between the releases of your two albums, Beyond, Beyond (2006) and The Kiss Of Spirit And Flesh (2013). Tell me what took you so long?
Sean: I was touring continously in Europe, so recording time was on a premium. The Kiss Of Spirit And Flesh was recorded (and should have been released) in 2011, but it was a case of Kscope records finding a window in their schedule for Leafblade. The album was also remixed with additions, so time wore on, before the contract arrived. Then it was a case or arranging artwork and CD libretto. I was also working extensively behind the scenes with fellow wizard Kevin Murphy, looking at a new line-up and promo ideas. Besides that, I was getting a lot of work as an actor, trying to earn that very strange thing called 'a living'. And how times roars on!
T.V.: Leafblade was formed back in 2003 and one of the founding members is Daniel Cavanagh from Anathema, but in the new line-up he's not listed anymore. Still he produced your last album and I wonder what part, if any, has he now in Leafblade?
Sean: Dan and the other Anathema lads have, in the twenty-odd years I've known them, been close to my musical output. They've been impressed by it, and have a guarded respect for it, for Leafblade, for what the old band Valle Crucis achieved. Dan wanted to produce the first major Leafblade release. He loves the stuff, finds in it a sense of what he calls 'home'. We worked well in the studio together, after ten years on the road doing the more acoustic works. I haven't worked with Dan since playing live with him at a Leafblade show in London in July 2013, at the Kscope five-year anniversary party. He's been very busy doing his own thing, and so have I, so we have drifted. That's fine with me. He will play no part in the next Leafblade album, whomever Leafblade are signed to. He's that busy, I doubt he wants to work with Leafblade, and I want to work with new faces, newer, more open minds, people who want to work with Leafblade as a unit, instead of myself alone. I'm in a band, after all, and my music would be a great deal less than it is without my fellow band spirits adding to the output. Dan just wanted to work with me, which was a strain. I look forward to a continued musical life without him in the vicinity, embracing newer, more advanced, challenging, progressive music.
T.V.: And yet again, also the rest of Cavanagh brothers took in this or the other way a part of Leafblade...
Sean: Since the riotous early days of Valle Crucis in the 90s, one of the brothers has always been involved in the recordings. Jay has produced Valle Crucis' acclaimed and privately released A Garden Of Verses in 1995, and later, in '99, at a session of Valle Crucis' The Birth Of Venus And Mars, Vinny assisted in production and final mix, Dan played some guitar. They were all eager for involvement. Anathema (or Pagan Angel as they once were) had supported Valle Crucis at a Hallowe'en night many years ago, and Vin had actually joined Valle Crucis over 1996. Ten years back, Vin had actually asked me about giving him a bit of vocal coaching, and Dan had wanted to get on tour with me and sing my library of acoustic stuff. Dan's involvement with Leafblade's recent albums is well documented, but Jay had assisted in pre-production on The Kiss Of Spirit And Flesh. I did a full European tour with Anathema in 2009, which was a great experience, mostly for my contact with Les Smith, who has always been a good friend of mine and a man for whom I hold the most respect in any of the members of Anathema. Duncan Patterson has also been a great mate over the years. We've shared a few tours, meetings and conversations; a real laugh.
T.V.: That's very interesting! If I understand that right Vincent Cavanagh was somehow coached by you?
Sean: No! Several years back, he asked me for a few pointers for him; technical help with breath and sustain. Anathema don't even sing in concert pitch anyway.
T.V.: And as you mentioned Duncan Patterson, I'm interested to know what do you think about his after-Anathema musical creations (Antimatter, Ion, Alternative 4,...)?
Sean: Duncan is a great friend of mine, and a creative spirit that I will always enjoy the company of, and take the time to talk with about the world, its humour, its shadow. But we will always have a laugh, as we have done on numerous occasions at gatherings and tours. There is no bullshit or affection with Dunc (Uncle Dunc, as I like to call him). He is honest, down to earth, and a poet, above all. He isn't just a lyricist, but a poet. There's a difference. We poets go deep. I've worked with too many shallow bastards, and that has all come to an end. I stick close with spirits I know I vibrate well with, who are truthful, and have a good backbone. Dunc very recently sent me a photograph from his 21st birthday, a photo of us, the Valle Crucis lads and Cradle Of Filth. A memorable night! As too his musical output, to be honest, I don't really show much interest in the scene around me, or take the time to listen to even my close friends' music. Maybe I should, but I've always walked a solitary path and paid very little attention to the creative output of those people I know. There is still a meditative, shadowy and often romantic yearning feel to what I've heard, and it doesn't always appeal. Very loosely, I need a bit more optimism and hope in music. I moved through my desolation phase many years ago, this intellectual gravity. It's all well produced, and I love Martin Powell's (ex Cradle Of Filth, ex My Dying Bride, ex Anathema,...) keys work. (Martin is another great bud – he sessioned on an unreleased Valle Crucis album in 1999, and did an astounding job.)

T.V.: And what can you tell me about another Anathema member, Daniel Cardoso, who played the drums on your last album? How it was working with him?
Sean: Daniel was a gentlemen, and a superb, attentive, discerning musician. We got along really well, and still do. We ensured that he ate well throughout his time recording, to keep up his energy! Daniel was unfamiliar with the music, but worked at it in the studio and delivered a first class job, raising the energy levels and dynamics in the music. I'll always credit him for his efforts, insight and talents.
T.V.: After all it seems very strange that you haven't ended up playing in Anathema. Were you ever asked to join them, as they had a couple of line-up changes some years ago?
Sean: In 1996, they had gone through a terrible time. I was always the other brother, growing up with them, doing the usual things. I did some tech work for them at the Dynamo Festival in 1996. Individually, privately, I was approached by firstly Dan, then Vin, to ask would I work with them. Collaboration with Dan seemed likely, but after promising a few things, he just vanished, without even a phonecall. I was irate, told him so, then we patched things up. My anger was born from the knowledge in that here I was, an up and coming composer in a relatively unknown act, Valle Crucis, trying to establish myself on the scene, getting pissed about by someone in a growing, more established act, who should've known better and been more professional. But no, so I became a psychopath in my reaction! But back then, I was still a discerning professional and wouldn't take any shit, so I worked with Vin for the next year or so, he doing more guitar in Valle Crucis, but still playing with his other band. We released an acclaimed private recording that went out on the underground in 1997 Three Adorations, then Vin did a bit of guitar on the next release in 1999 The Birth Of Venus And Mars. I've jammed with them all, worked on stuff with them all, toured, recorded, and (when I used to have a beer) been pissed with them all, tried educational toxins and done one or two other things unmentionable in this interview, up until the last Leafblade album. But I'm pretty much done with the association. I am a creative spirit in my own right. But as Mick Moss (Antimatter) will tell you, sometimes it's difficult to cast off the history, especially as mine is so intertwined. On the 2009 European tour with them, Leafblade played as special guests. At a show in Sweden, I was joined by Dan on guitar, Jay on bass, and then Vin crept up to join in on the kit. It was okay while it lasted, but then just thought, fuck me – this is Sean-athema.
T.V.: It seems to me after all that now disbanded band Valle Crucis who were active during the 90s had all the right settings for success. Why didn't you continue under this established name?
Sean: Kevin Murphy and myself, and Brian Cummins (who is now making a name for himself in his Peter Gabriel and Genesis tribute bands) launched Valle Crucis in the early 90s. The difficulty was, we were playing a progressive, theatrical, dark-storytelling metal that was popular with a cult following, but there weren't enough venues locally to support what we were doing. Known all over Europe and the UK on the underground scene, but couldn't expose the music! We took to composing, went our separate ways for a while, but re-emerged with a more inward-looking, transcendental, mystical feel, as opposed to the firelit tale epics we'd been playing as Valle Crucis. A new name and idiom was required. I took to touring with Dan, and Leafblade had the right tones for the more acoustic, lightly medieval-sounding stuff. But Valle Crucis are alive and well! The music lives on in Leafblade. The beautiful thing is, since Leafblade have launched with the more dynamic, anthemic, heavier stuff, we've been playing alot of older, darker, stunning Valle Crucis numbers at festivals, and this has been great for the spirit. Leafblade become more versatile, active, full-on, keeping Valle Crucis alive and very well, thank you – another side to the music!
T.V.: The Kiss Of Spirit And Flesh was released by one of the biggest labels in the field of melancholic/art/prog rock - Kscope. Please tell me how did you got in contact with them and how are you satisfied with the work they did for you until now?
Sean: Contact initially was through Dan Cavanagh. Kscope had heard of Leafblade, were impressed with Beyond, Beyond, and on the premise that Dan would produce the new album, were interested in signing Leafblade. The Kiss Of Spirit And Flesh quickly became the manager's favourite album ,and became the album of the month on the label in UK and Germany. Kscope did a big job in promotion, and were very 'hands on' with the artwork. They've been very informative on the legal side. But all they really want to do is sell albums. Promotion could've been better. Sure, I had a lot of interviews and airplay, and brilliant reviews in magazines such as Prog, but things have eased off too much, leaving Leafblade to seek elsewhere even more promotion, booking agencies, arrange their own merchandise publication in the online shop we have. Sales had been better than expected at Kscope, and they will review the situation with Leafblade at the end of the year. We shall wait and see if Kscope will keep Leafblade on for a second album. Kscope have had a very personable approach with Leafblade, helpful and informative, opening up my experience to legal, publishing and other sides to the industry away from playing guitar and singing!
T.V.: And beside Leaflade and Anathema, Kscope has a lot of very good bands in their roster. Tell me, have you made any connections and friendships with any label-mates?
Sean: Afraid not! I know that Kscope has signed a great deal of forward-thinking, progressive talent, but excepting a brief meeting with them all at the Kscope anniversary show in London in 2013, contact has been minimal.
T.V.: The last member who joined the band was experienced drummer and percussionist Tom Leg. Is this line-up a steady one and can you share some words about all the Leafblade members?
Sean: Kevin Murphy, bass aficionado and backing vocalist (but a vocalist in his own right), discerning. Kev loves to dissect and examine the music, get things under the microscope, as do I. He and I share a richly varied history, and delight more than ever in rocking out to Leafblade and Valle Crucis storm-bringers, or the more genteel, ambient stuff. Kev is a consummate musician, a real philosopher and bookworm. And it was a thunderous pleasure playing duo with him in the spring of 2014 as Special Guest to Mick Moss and Antimatter.
Pete Gilchrist harks back to the early days of Leafblade, but I've known Pete for over fifteen years. Pete had a home studio, in which he and I archived a few hundred of my pieces. That was great fun. Pete is the digital creature, the computer analyst. He claims that I've taught him everything he knows about the guitar, which may well be true! But he has a sense of harmonic structure of real value, and perhaps knows more about my own music than I do.
Tom Legg is the new boy, though he's been with Leafblade since the late summer 2013. Tom came as an answer to our prayers, and, I think, we came as an answer to his! Tom is a superb drummer and percussionist, richly experienced in a multitude of genres. He loves the many sides to Leafblade, adores them all, and like the rest of us, shares in the passion, the energy, the replete need to promote and play live to the best of our ability a unique strain of rock music. Tom is another book-worm, a keen reader, a man of science and general knowledge, committed to Leafblade's thunder.
T.V.: Both of your albums have quite meaningful titles and I'm wondering what's your explanation of them? Beside that what are your lyrics mostly about and what inspires you in terms of used thematics?
Sean: The underlying theme of most of material is one of a poet's perspective. It is one of observation of the human condition, the human spirit. It celebrates the wonder of childhood, sensory appreciation, synesthesia, the effect of the world about us and within us on our senses. I've been using the term 'inner landscape' and 'internal ladscapes' for years now, as hyper-journeys of the soul, how the poet interacts with the land and the multiverse. They are wonderfully profound concepts, through philosophy, nature-mysticism, sacred geometry and the wonder in our sunlit and moon-lit blood. I've always been fascinated by comparative theology and language, our chemical, genetic and racial history; the human penchant for occult and astological constructs, the inherent power and intelligence behind nature and the unfolding universe. I must be composed enough in order to compose. It is an axiom which ties in with my love of active and passive meditation, evocation of creative consciousness, the highest of our powers within. In the Hindu sense, it is all breath, whether I stand alone on a hilltop and observe the sunset, or perhaps listen to the waves on the shore, or evoke, and convey, as an actor must, the themes within my songs. I am one and the same being, celebrating stillness within. (To be honest, difficult on stage, amidst the madness of sound, audience and technical issues!) This theme of stillness is central to my being, for it focuses on polarity, centre, creativity, and the infinity in silence, allowing the brain to play with any frequencies it wishes to conjure. It is something I have employed since childhood, and instills me with the notion that the faster everyone is around me, I must time lapse like an old oak and enter a slower frame. The irony is, in 'slowness', one achieves 'the quickening'. I employ this in my physical training and serotonin release, and in my creative overdrive. As Confucius says: 'In your stillness, be as a sage; in your action, a king'. I'll deliberately slow, until I'm in a wonderful, slow-motion Zen frame, then the thought-processing reaches, from that control, heights of wonder, celebration of the heart and blood, ecstatic rapture. Against the Buddhist concept of 'life as suffering', I make attempts at rapture, creativity, exercise, study and intentionality of consciousness in my everyday life, allowing it to permeate into my creativity, my lyrics. There is a great deal I see and experience in the world which moves against me, which unsettles me, boils my blood. I must employ these techniques to overide this unsettling. So the Poet steps out, attempts to metaphorically soar above it and through it, absorb it, even, seeking, with intentionality, exactly what it is that will focus the senses elsewhere: love of the infinity of the self, the multiverse, the senses, and the pitiable, yet immense wonder of the human condition. All we are is a creature of spirit and flesh; an amalgam of the intellectual and emotional mind.
T.V.: Wow! So, there is a well thought concept behind the two albums you released so far... I see that you are taking quite a philosophical approach in this things. How much does philosopy interests you, or are you more a interested in mystical/religious stuff?
Sean: I delight in it all: philosophy and mysticism. Since a child, I have merged my senses, my sensory appreciation about me, weaving sights and sounds and smells into an ecstatic, upward movement of the spirit: the lightness of being. Psychologists would call this 'synesthesia'. Most creative types have it, but it can vanish in later childhood. Mine, as a poet, weaver of words and a spirit that delights in solitudes and the silent voices within, has remained, and in fact keeps renewing itself in waves! Memories, dreams, reflections, as Professor Jung would have it, woven with personal associations through stories, seasons, moon phases, sunlight, snow, pouring rain, voice patterns, textures, silent places of the earth. I regularly get out to the depths of the countryside, to the quiet places, and listen to one's beating heart, birdsong, or the movement of the stream, wind in the trees, buzzards singing out in the valley. It creates a magical wonder within. I have to deal with the quotidian, day to day nonsense like everybody else, and god knows, seen and experienced enough shit in recent years, but I have made a concerted effort to maintain my interests intellectual, quantum, comparative, mystical, creative. This is the true human condition, our greatest inheritance as creatures of blood, electromagnetism, and cerebral processing. And we must recall that we possess a primarily unused, but no less thunderous, intuitive right-brain. The right hemisphere, door to the magical realms within and without the self. This is our key, in a Zen sense, to the Information Universe. Spirituality, mysticism, ties in with this – the pursuit of one's personal soul path, without being fed religious dogma and creed, and all its other tiny-minded trappings. I'm not religious, but I am deeply spiritual. I treat all 'messiahs' and 'masters' as brothers, entities with whom I can teach, and be taught by. I do not want to worship them, this is a pointless and outmoded pursuit, and I daresay these deities to not want it our worship.  If I evoke, bring through an ancient Babylonian God or Bronze age woodland deity, then they can show me the respect, in that I have, in a metaphorical sense, 'rubbed Aladdin's Lamp' and can be granted the three wishes! This, for me, is the reality, the quantum, mystical inner light to all life: intelligence, vibration, frequency. In the Hindu sense, all there is, is 'breath'. In mysticism and 'magical' pursuits, we attempt to align one's consciousness with the unfolding universe around us. We steer our vessels of reason throught the precarious waters of intuition, whether in a transcendental sense, a consciousness-shifting 'magical' or occult-study format, or through the taking of toxins. Somewhere, in my humble philosophy, there is a fabulous meeting ground between our deepest soul's desires, and what the Fates have in store for us...
T.V.: I believe that we could talk for hours about this, but let us return to music... You told me not long ago that Leafblade can play live as a full rock band, as an acoustic duo, and so on..., yet you have many live experiences behind you. What can the audience expect from your live sets and where and when will your fans have a chance to see you live in the near future?
Sean: Leafblade pride themselves on variation, whether it be a flute-based Renaissance painting, or metal evocation of the woodland god, songs of the giants or a Bardic, nylon-strung lyrical song. Through rock, ambience, soliloquy or full pounding anthemic strains, Leafblade will deliver a dynamic, stinging set. We've stories to tell, and evocations within that will find a home in every heart that listens. The stories, the rapture, the seeking through this often dark life, relate to every one of us, but they bring through an unfailing optimism and hope for our salvation, our onenesss with the unfolding universe. The stuff is blazingly honest, and doesn't need a messiah to save us. All those 'messiahs' and masters should be treated as old friends, as equals. No worship, just equality of vision. We'll entertain, raise the spirits about us, and in ourselves. Forthcoming shows? Manchester, UK, end of October, Leafblade play at a few Viking and Medieval festivals, then in November play in Glasgow, Scotland, for a few days at a healing festival. In December, Leafblade play at festivals celebrating the 'Middle Kingdoms', the 'Faerie Host' and the Hollow Hills. European dates for 2015 yet to be announced, but we've festival slots and special guest dates to confirm at plenty of festivals both in the UK and Europe in 2015, amidst recording the new album.
T.V.: Back to the last album of yours... Pretty interesting cover artwork with two rams, and I believe that you can share some words with us also about this meaningful artwork.
Sean: The rams represent, in all their raw power, the surge of life, the movement of the blood, the need to protect the self and secure the next generation. This is the defining moment when spirit and flesh conflate, join. It is an idea that can be understood by every beating heart on this planet. The image itself is astounding, and was originally planned as the front cover to an older, unreleased Valle Crucis album, The Birth Of Venus And Mars. We had to get Kscope to chase up the photographer and secure the copyright, and he was a great spirit to talk to, and overjoyed at the use of his photo! The original front cover, for anyone interested, should have been the cosmic purple image Leafblade have on their Facebook page. For us, this image, with the starry wash and the purple wonder, signified a greater passion; deeper and more enduring, in line with the wonder of the artist, always looking skyward. As good as the actual blue front cover is on The Kiss Of Spirit And Flesh, it's a bit tame compared to the mighty purple and crimson version. For whatever reason, the graphics design department at Kscope didn't go for it, so now the image looks like the cover of National Geographic. Next time, Leafblade will have full say in their artistic expression, and celebrate the image in glory, sunlight and stars!
T.V.: If you have to point at just one song from each album as the one most special for you which would that be?
Sean: I'll tell you something different every hour, Tomaz, as I shift and mood vary like the weather! But perhaps, of them all, through them all and ever dancing in my blood, depths, history and memory, the song "Portrait", for its delicacy, its euphoria, its relentlessly powerful anthem. It is a waking dream, full of optimism, fragility and neutron-star weight, based on an old poem of mine of the same title.
T.V.: On your facebook page you described the genre Leafblade plays as "Music from the forest of the heart". How did you came to such a description?
Sean: We are the Land, and the Land is ourselves. The Poet, like the origianl knights of the Arthurian legends (in a more pre-Christain, Celtic myth), travelled a land which shifted like a prism, like a waking dream: haunted, deep, beautiful, but riddled with demons of the psyche, horrors and terrors straight out of Bosch or Dante. The Land was heavily forested, rich with myth, stories, fear, and the all-protecting bowers. It was both a heaven and a hell, and a purgatory, depending on perspective. Much of my poetry, my musical idiom, is spawned from this land within. It is the place of rest, composure, or the place where Theseus journeys within his own labyrinth and defeats the darker aspects of his psyche: the Celtic Harrowing of Hell, or Hounding of Annwn, the land where Thomas the Rhymer or Rip van Winkle sleep for a hundred years. I find the green lands within, and as an Aboriginal Dreamtime Shaman song reads, from 20 000 years ago: 'my bones smoulder – I must journey there'. And as my true creative love lies there, I shall engage her with my heart. The land, therefore, becomes the Forest of the Heart: the place of the love of divine creativity, the realm of the Muse.
T.V.: This is a bit standard question, but I'm really interested to know who are musicians and bands that influenced you in any way?
Sean: I've always loved Rush, Yes, acoustic Led Zeppelin, Clannad, Simon and Garfunkel and Cat Stevens. A few Beatles songs have always stirred the soul, along with Booket T and the Mgs. I love classical guitar and lute music of the Renaissance and Middle Ages; tenth-century Saxon and Benedictine Plainsong; the polyphonic delights of the Medieval Saint, Abbess Hildegard von Bingen; sixteenth century masses of Palestrina, Tallis, Byrd, Taverner, to name a few. I have an extensive collection of Medieval and Renaissance music, through North African songs of the Crusades, through to Eastern European and central European instrumental religious and secular dance music. It all stirs the soul! My classical music collection is huge. I adore Stravinsky, Respighi, Mozart and Beethoven. They really do rock out. String quartets and dream-weaving from Ravel and Debussy, or the rich, rural, English Symphonic tradition, choral works, piano; Panufnik, Janacek, Dvorak, Martinu, Holst, Part, Shostakovich...
T.V.: Ok, I think we covered a lot of things, but is there anything that you would like to say at the end? And of course, thank you for your time and comprehensive answers!
Sean: Thank you for the listen! It's always a pleasure to share with those people who are interested in Leafblade. Thankfully, their numbers are growing, and we reach out a little further. Come and have a listen, a read! All love and health to Terra Relicta and to the spirits reading, from Sean Jude and all at Leafblade!

Leafblade links: Facebook, Soundcloud, Kscope

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