ifitbeyourwill Podcast #171 • The Leaf Library

The Leaf Library have spent two decades quietly building one of indie music's most singular worlds — and their fourth album, After the Rain, Strange Seeds, might be their finest yet. ifitbeyourwill sits down with Matt, the band's driving force, to trace a journey that began with a Stereolab ad in Reading and wound through DIY networks, John Peel plays, and six years of painstaking work on a record that finally feels like vindication. They talk craft, collaboration, and the particular delusion it takes to finish an album. Stay for the song.

Transcript

Welcome And Guest Introduction

colleyc 0:30

All right, everyone. Welcome back to another episode of ifitbeyourwill Podcast here. Coming to you on an almost spring day. And do I ever have a treat for you? I'm here with uh Matt from the Leaf Library, which are an indie band. They craft this delicate atmospheric blend of dream pop folk. I mean, there's even these lo-fi textures in there and classical in there, pastoral comes to mind. Um, their music kind of drifts between memory and place, shaped by subtle melodies and these hush vocals that just will grab you. Their latest record called After the Rain, Strange Seeds, came out just not too long ago. Let me get the right date because I like accuracy. This came out March 20th, so not that long ago of this year. Um and like I said, uh we have Matt here to kind of pick his brain about this great record. Uh, I was just saying before we hopped on here how this song really hit me. And I think after Matt's words and our talk, stay tuned because we have a tune that will come playing in. So once we're done talking, we'll let the Leaf Library take over. I was really excited to talk with you about your music and your process. Um I typically like to start these a little bit of a back history of sorts of what were some of the moments that brought you to where you are today? I know you've been doing music for a while, and you did kind of allude to that you're not a music theorist or like you play from your heart and your guts. Um can you bring us up to date on some of those moments that that helped to bring you to where you are now in your musical journey?

The Leaf Library 2:19

Sure. Hi, Chris. Yeah, it's really nice to be on on your podcast. It's a real treat, and it's nice to be talking to you across the water. Uh, I'm really glad that the the album's gone over so well. It's lovely to hear, you know, we put a lot of put a lot of effort into it. And yeah, like you said, it's been a long journey now. I've been doing music for hang on, more than half my life. Um, you know, I just it was that very typical thing of like being a teenager, like someone would play some music. You're like, those guys and those, you know, there's people in that band that like they're having a really great time. I want to be in a band. Like, what's the easiest way to be in a band? I I hadn't had any music lessons. I tried singing in a band, that went pretty badly. Um okay, bass, my parents wouldn't let me learn the drums, bass was the next thing, and you know, bass, you end up playing guitar, guitar, you know, you can kind of just sort of join any band. So I've been really lucky, you know, quite early on. I answered an advert to join a band called Saloon, local to where I was in Reading. They had Stereolab on the on the advert, and it was just you know, dream come true. And I think it's it was very hard for I you know had lots of friends that wanted to be in bands and things, and I I think I just lucked out with the people that I got on with. It was a it was a an organized band that sort of had a had a manifesto and had a drive. There was an older guy who had a van, you know. So we did gigs, we got around. Yeah, yeah, so that completely. And we you know, we did gigs. We met so you you do gigs out of town, you meet people, you meet people that run little labels, and it was just that, you know, I I it it wasn't punk music, but it's to me, punk means that thing of like the network, the DIY network of of stuff, and you know, you put out a seven-inch that get us on the radio, John Peel played it, and then you know, things just go from there. So I've because of that early luck, I've just been really lucky, and then saying I was in this band, and then you get you that means it's easier to get other people to join your your new band, and you get gigs off the back of that sort of stuff. And so I you know, most of the people I know in my life do music in some form or another, so it's you know, it it's it's difficult stepping back from that and working out how did I get here.

colleyc 4:34

Right.

What The Leaf Library Really Is

The Leaf Library 4:35

But it's just it's a massive question. Yeah, I'm sure you break it down a bit. Good. Yeah. Uh but yeah, just it's all I do. Uh you know, it's not my job, but it is as aside from that, it it's all I do. And I I did try and stop when my son was born 13 years ago, and I managed about six months before just you know, roaring straight back in there and you know starting a new band. So I I guess the other thing to say is I've also been really lucky with my friendship with Kate, the the Leaf Library singer. She and I met even before I was in this this first band. I think we met in like end of 1996, and we've been good friends ever since. And when I suggested she come and do some singing for this new band I was doing, she was game, and that was several years ago. And here we are, album number four.

colleyc 5:26

Yeah, yeah. And I mean, tons of VPs and you know singles that you've put out. Could you kind of paint the story of like what is the Leaf library? Like, is it a collective? Is it your project, and then you have other people come in? I did read that that this first this album that just came out is your first kind of like established lineup. Is that is that accurate?

The Leaf Library 5:53

Yeah, I guess, yeah, that is accurate. I know it's gone through several different ways, several different kind of taglines, really. When it started, it was just Kate and I, and then we you know we sort of struggled to get a band together and hold a band together. And then Gareth, the bass player, joined, Lewis the drummer joined, and then uh sort of after that, when it came to doing our first record, it always feels like this could be the last thing we do. So we got loads of friends in um to play on the record, and then off the back of that, the live band grew, and I've always liked the idea of the collective and stuff because it takes pressure off people. Okay, you you can make this gig, you can't make that gig. You know, it's fine, it's cool, let's just build make a sound with whatever we can on that particular point. And so for a while it was this kind of collective thing. I think by the time we've got to this record, it's just back to the the four of us, the four of us writing. Um, and we've got loads of great friends that do music, and there are lots of our friends that are on the record. Um, and we're also really blessed with Mike from a band called Fire Stations, a woman called Arena. They both play in a live band, sorry, a six-piece live band. But yeah, when it comes to like decisions, writing stuff, money, that kind of crap, um, it is the four of us. I sort of describe us as like we're like the board, and then you know, we've got you know, other people kind of come and go, and but at that point in the conversation, people just stop and and wander off. Yeah. So yeah, I hope that explains it a little bit.

colleyc 7:30

Yeah, I love this kind of organic nature to it as you're describing, you know, it's like but is that tricky to write for, Matt? Like when you're when you're thinking of a new song or something comes to you, how do you make it the leaf library sound? Like, are you aware of that of what you're trying to know the sound that you want when you're gonna tag it as a leaf library song?

The Leaf Library 7:53

I I think so, yeah. I think so. I mean uh uh writing often comes from trying to like being inspired by something else, like being inspired by another song and thinking, I want to make a song like that, that is that is great. I want to make a song like that. And kind of knowing like we've been doing it long enough now that I know that if I try and, you know, rip somebody off, borrow, that it's not gonna sound like them. As soon as we get Kate singing it, and as soon as we've got like the the core progressions that I tend to favour, it's gonna sound like a a leaf library song. But when it comes, you know, this sort of collective thing, I think it makes it just much easier to write or more exciting to write, because I kind of know that whatever I want to try or we want to try, there's gonna be somewhere out there, someone out there that's that that's up for like giving it a go. And we're quite good. I'm quite good at just getting in touch with people and saying, you know, do you fancy doing this? On the last album, I think I was listening to an REM song and I'd noticed for the first time the harpsichord. I was like, oh, we need harpsichord on the on the record. And I just saw somebody on on Blue Skies that somebody put up a picture of their harpsichord. So I was like, right, hello, you don't know me, but you're gonna play some harpsichord on Honey Record, and there we go, we've got another, we've got another band member.

colleyc 9:13

Just like that. I've always said that musicians are great hustlers in the sense that we are always looking, discover, you know, who do we know, who could fill that gap in, or oh, I remember listening to them. I wanna, you know, like it's that's the essence, right? Your community becomes a part of the process, really.

The Leaf Library 9:33

And that's you know, without uh laying it on too thick, that I think for me is one of the most satisfying, like exciting, pleasing things about being in a band is just being around those people and having that kind of dialogue where you get somebody in to do something and they're you know they're on your record, and that's that's a bond. Even if you don't really see them again, you know, you've got that that bond, and you know, I I need that in my life.

colleyc 9:59

And Matt, tell me like what's your writing process like? I mean, you're a prolific songwriter, like, and I'm not being bashful in saying that. Like just go on to Leaf Library Band Camp, and it's just a you know, I didn't know where to start. Like, I was like, oh, I want to hear early stuff. No, I want to so your writing is like prolific. I mean, you have so many songs that you've crafted and put out in the world. How do you approach songwriting? What's do you have a process that you go through? And I guess I want to add on a little extra to that is like when do you start realizing you're on to a song that you could eventually see, you know, ending up on an album?

The Leaf Library 10:45

I mean, that's yeah, that's a really good question. I like that. I think in terms of starting the process, like I said, it tends to be like the inspiration will come from. I listen to a lot of music. I had music on like 12, 15 hours a day. Hearing new stuff and going, yeah, I want to make a song like that. So you know, you try that, um, you know, I've got many, many sketches in the folder. Sometimes it's just boredom, sometimes it's like picking up the guitar or a new piece of equipment or you know, something like that, and just having a strum and having to play, having to fiddle about on the keyboard in between things, and and just hitting something that's like, oh yeah. That you know, that sort of prods me in the bit of my brain that that is interested in chord sequences and and things. And what I tend to do a lot is you know, we have a Dropbox folder, I've got all of these sketches, and I sort of group them together so I can I I listen to them fairly, fairly frequently. And f some, you know, the ones that rise to the top are the ones that I listen to more frequently and sort of enjoy almost on their own and think, right, this one kind of deserves to be taken further, and like, you know, or I can just hear Kate in there doing something, or you know, you know I put it to the others as well and and see which ones they get excited about, and that's always slightly nerve-wracking because I have my favorites and you know, favourite little children, and sometimes they're like, no, we don't want to work on this one. This is terrible. What would you think?

colleyc 12:11

And is are you able to let go of things that the the other members are just not connecting with? You're able to, okay, we'll shove it, or are you like, no, no?

The Leaf Library 12:21

No, I yeah, definitely, definitely the former. And I think it helps that A, we've all been together for a long time, and I've you know, I thoroughly, thoroughly trust their judgment. Lewis, I think, is possibly my closest collaborator, the the drummer, in those early stages. And well, you know, all stages actually. I think if he doesn't like something, then it's there's probably a reason that he doesn't. But then the other thing is as well, is that we've got such a kind of you know such a kind of store of of music and uh other kind of outlets, so other projects and things, like nothing ever really goes to waste. So if they if they didn't like a particular sketch that I did and I still really liked it, then it would I I we'd either kind of strip it down for parts or it would find another outlet somewhere else. Fairly frequently we've stripped things for parts, and it's it's actually pretty satisfying.

Why The Music Leaves Space

colleyc 13:16

Yeah, because like amongst all of that, like you can always there's always something somewhere that you can even if it's just the initial strum of the chord. Okay, we like that chord, let's bring in a different one for the second one, and yeah. Um one thing I noticed too about your music is the restraint in it. It it's hard from artists that I've talked to, it's hard to be deliberate, yet leave enough room for people to find their way through what you create. How do you how do you as an artist come about with restraint and leaving space for the listener to find something in it that they connect with? Um like I was telling you, like I I really love the nature aspect of pastoral pop almost. And it it's everything seems to be there for a reason, and also that you're kind of almost like slow down, slow down. Like I I hear that in your head as I'm listening to your songs. How do you go about that? Because it's not an easy thing to do. I mean, my first memories of Lowe when they first came out, and I'm like, how much slower can something go? And that restraint, I remember reading an article that Alan had had talked to, that it wasn't easy to do that because your tendency is to thrash and like loud and now your your songs plod along and they have this like amazing build that they do, but there's this like like I said, this kind of slow down, slow down going on in my head when I'm when I'm listening to it. Yeah. Can you can you put some meat on that bone for us?

The Leaf Library 15:02

Yeah, I love it. Yeah, it's so nice to hear that because I I it's not something I think about, and so it's tricky to answer. I think I've got an answer for you. But also, you know, you're chucking around names like Lo. That's that's that's big stuff. That's that's it's nice to hear. Well, you guys are big stuff. I mean I mean, so there's a couple of strands to that. I think the main one, you know, the main answer to your question is that I think between us and me in in particular, I listen to a lot of very slow, very minimal music. And I I've always enjoyed that, and I think as I get older, I find a lot of comfort in that in slower, more minimal music. And sometimes I'll play something to somebody that I think's you know, a bit of a banger. And they're like, no, this is this is too slow. There's nothing going on here. Um, you know, I'm not a complete ambient head, I've got quite a range of stuff, but ambient music is something I listen to, you know, the the Brianino stuff and uh you know reading a reading a a book about cranky records at the moment, you know, and that you know, going back through the stars of the lid and things like that, that seems full to me. And so I think it is just a reflection of uh of that. I mean I I guess the other thing as well though is that I don't think we could thrash around, certainly not on record. I've always been slightly kind of self-conscious about being like a heavy, heavy band on record. And I want us to have some heavy moments, but I just don't think we can play like Nod. You know, we've tried it and it just doesn't work. Live, we're a bit bit heavier and a bit more full on. I would love it if you could see us live once once, because it's you know, there's a lot more energy there, there is there's space, but there's you know we thrash around a little bit more. But yeah, I hope that answers that that that well enough because it's it's a tricky one.

colleyc 16:55

Absolutely. And and don't don't get my question meaning that you know thrashing around doesn't have its place. And I do think you guys thrash around, like the first track off of the latest record. Let me get the name because I mean I just have been listening to this one track, it's a color chant. I mean, there's something to that song that will have you listening to it like a hundred times. And it's again, correct me if I'm wrong here, Matt, but it seems like it's two or three chords and it just mounts. It has a very stereolab feel to it, to me, where it's very simple, but it has all of these textures and pieces and knobs and creaks and cracks in it that that allow a person to find themselves in it. You minimize the lyrics too, in the sense that you don't want to overwhelm with the words, you want to let that music kind of shine through. And I mean, I really love Kate's voice. I think it's it fits so nicely with what what you guys have put together here on this latest record. Um can you talk to a little bit about that though? The the how you construct a song from your ideas being inspired from a song to saying, okay, let's start to build this. Because it seems like there's so much um happening, yet it all kind of bleeds together in this one um singular purpose, which is the song. We're gonna get the song rather than you know the solo or the we're gonna make flurry lyrics, and like it just everything is there for a reason.

Building A Song From Simple Parts

The Leaf Library 18:38

I I'm glad you picked that one out, actually, because that's that's a really good example. And um it's that track's been around for a little while. I try and answer all this in the in the right order, but my mind might jump about a little bit. My mind does. Uh so firstly, back to just quickly touching on the the heaviness thing. It's good you pick that one out because that started life as a oh, we want to sound like this big heavy band. And so that was like a sort of a screaming feedback, like a kind of dirge. It was some sometimes quite quick, sometimes like half a slow. And after a while, we're just you know, we were wrestling with this thing that we didn't need to wrestle with. It's like, let's just turn it into a leaf library track, dial this back back, dial this bit back, you know, emphasize this bit, and there we go, suddenly it just sounds like us. And all right, that's got to be the album opener. That's that's great. But in terms of sort of making those those kind of songs, I've always thought that, or I've always known that with our pretty limited technical ability, like that if we were going to make it work, our stuff had to be like lots of people all doing like a small thing, kind of like modular stuff. And that way, you know, that way you can have confidence with playing live because you know whoever's doing it only really has to do quite a simple thing as long as they start and finish roughly at the same time. Uh and that can be quite powerful because you're you know, I've seen other other bands doing it. I'm trying to I can't think of his examples at the moment, but so that I think that's a good example of doing that because it we're live. I the I play one chord and it's an arpeggiated chord, and I just play that over and over and over through. Um there's another guitar part which is I think three chords, mostly one chord in the verse. When it gets to the chorus, there's two additional chords to it just to give it that little surprise, like there's a bit more going on here. The bass line is is one riff just going round and round. And yeah, it's pretty the the vocals are very uh repetitive. I think it's worth noting with that one as well. That was the the first time that I tried sort of automatic writing that when was successful enough to to then go into a song. So to me it's got that otherworldliness of like you know, the the the lyrics didn't come from me. The lyrics came from somewhere else. So maybe that's why it stands up to repetition, either, you know, repetition in the song and then listening to the song over and over. Yeah, interesting.

colleyc 21:12

Well, I had to pull the lyrics up to honestly to to to read through like I thought it was just you know, it could have been fifty to a hundred words, but you know, like you don't get that when you're listening to it, but I wanted to dig into the lyrics and I was like, wow, there's you know, I mean 10 lines and it felt to me like they were fifty just because of that soothe that you get into on this beautiful like propulsion sound. Just chugging, chugging. It's so great.

The Leaf Library 21:44

I love that with music, and I and I can't remember the exact quote, but you know, I'm drawn to music that's that's very repetitive. Uh I can't remember the exact quote. It's a Brianino quote, but it's about you know, it's along the lines of d you know, repetition brings its own sort of change. Like you can listen to the same drum beat round and round, and the longer you listen to it, the more it starts to change, even though it's not changing at all. So there's lyrics repeated round and round. It's brilliant. I mean it's a nasty trick.

After The Rain Strange Seeds Meaning

colleyc 22:15

I love it. I love it. So talking about After the Rain and Strange Seeds, what's the title? Like I'm I'm fascinated by it. And you've done titles like this before where you have like two kind of you know juxtaposed visions or or ideas. Can you can you tell us a little bit about where After the Rain and Strange Seeds came from in in saying okay, this is what we're gonna stamp this album as?

The Leaf Library 22:42

Sure, sure. So I guess the first thing to say is to be really upfront and honest and say that line popped into my head. So it was you know, it's it always sounds so ridiculous and fanciful when when people, artists say, Oh, you know, it just came to me, but like there it was. Boink popped in my head. It's like that's a cool line. Okay, that's some we need to do something with that. Um it came quite late into the the making the album. So the album wasn't after the Rain Straight Seeds, and you know, we we weren't making that album. For a long, long time the album was gonna be called Thunderhead. So, you know, another meteorological reference. Uh it just seemed like, you know, this is gonna be a short, sharp album, maybe you know, quite you know, recorded quickly and us all playing together in a room and maybe a bit kind of faster and maybe a bit noisier than our last one. It obviously didn't turn out like that, but Thunderhead was there for for quite a while, even just telling other people about it, and that was how we'd refer to it. And then yeah, this this phrase just popped in my head, and I was suddenly it was like, this album cannot be called anything else. Like it has to be this. And I you know, it was quite nervous putting that towards putting that to the rest of the band, because in case they didn't like it, I think I would have been I think I would have been upset if they didn't like it, but they went for it suddenly, you know, all of the rest of the songs seem to fit with it. And for me it's about it's come to be about renewal and and kind of coming through something very you know, very literally coming through winter and and getting, you know, out of cold weather and into the spring. Spring is my absolute favourite time of year. My brain goes bonkers and you know have a I have a wonderful time. It could be more sort of emotional weather and stuff like that, you know. It could be some of the songs on the album has sort of have come to be about speaking to people that I or someone or me. There's there's going through something and and maybe not necessarily offering support, but just saying like you're going through something that's this is strange. So the title could be about that, you know, there's kind of an end to this stuff. It might be you might be in a strange place, a weird place, who knows? It's sort of renewal, rebirth. So I like titles that are sort of interesting, but you can kind of hang your own ideas on them. And I, you know, I I really hope that someone else out there is like, it doesn't mean that, you idiot. This is what it means.

Carry A River In Your Mouth

colleyc 25:18

Well, and everybody can interpret their title how they you know how how they want. Um it belongs to the people that's out there in the ether. Um you you had mentioned to carry a river in your mouth was a bit of a a shift a little bit in how you wanted to put a song together. And I think you had said that this is your poppiest or most structured or most can you can you talk us through us a little bit of that story? Because we're gonna listen, this will be the song that we'll play at the end, guys. So I just I I really want to drill down mad on this song because it was fascinating what he told me before we hopped on here.

The Leaf Library 26:01

So well, yeah, word of warning, it's definitely not the most poppiest. It's it's uh it's the one that's sort of the most kind of classic, I think, in terms of you know, that sort of 60s baroque pop. I really wanted to just try something that was crammed full of chord changes because that kind of thing doesn't come naturally to me. I wanted it to be an acoustic guitar song, which again we've not done very much of, finger picked, which I you know I find quite hard to do. Uh just yeah, acoustic guitar voice and strings. Um and yeah, so it's almost like a songwriting challenge to start, which makes us sound very dry and academic. But I think the the strength of Kate's vocals and the strength of the string arrangements by our friend Daniel just kind of carries it and it glues all of these silly chord changes together. That one is special as well. I think you know it's it's special for me because it's a step towards, you know, I want to say maturity in terms of like songwriting, but you know, why not why not go for that? Um it's uh you know, it's quite it's quite a weird song, but also I it's the the lyrics to me kind of mean quite a lot. And they're an example of what I was saying about that sort of talking to somebody that's going through something, and I think you know the the title, Carry a River in your mouth, carrying this big sort of burden that you can't open your mouth and talk about it. So it's it's not meant to be literal, but it's just you know it works, yeah, right. It uh and again that was something that popped in my head and when it did. I was like, oh yeah, that's that's good. I'm gonna have that.

colleyc 27:42

Yeah. I love those grand imagery, you know, like Sparkle Horse used to do that a ton, like these massive images in small so this small little thing, and I think you really nailed it on that one. Um thank you. So stay tuned, uh people, for that tune.

Six Years Of Making One Record

The Leaf Library 27:58

That first Sparkle Horse album meant such a great deal to me. So yeah, there we go. Great stuff.

colleyc 28:04

Yes, yes. Um, I guess as we come to a close here, Matt, you you put this record out in May. How are you feeling? It's been received out there in the world. Like, are you surprised or are you you know, like where are your emotions with? I mean, this is a long journey to put an album together. I tell this a lot of the time to the listeners if they're not musicians, because it's it's not an easy task, it's monotonous at times, it it consumes a lot of money, a lot of time, um, a lot of emotion. The thing comes out record release day, and then it's you know, it's out there, right? As we said in the ether. Where are you at with this record? How are you feeling about it? Are when you kind of look back over that whole bringing it together and getting it to the launch day and really releasing it into the world. How do you feel that did you accomplish what you wanted to accomplish?

The Leaf Library 29:08

Yeah. Um yeah, you can see my face at the moment, Chris, but I'm totally beaming because it's it's yeah, I've been completely blown away by it, by how it's it's been received. Um I it is a long journey. It's taken us six years to do it, and you know, it's that six years is a long time to spend thinking, you know, that there's such a degree of like delusion required when making an album because you're like, you have to believe that people are gonna love it, otherwise there's just no point doing it. And you know, you don't know if people are gonna love it, so you have to kind of kid yourself that they are. And six years is a long time, you know, a lot of doubts creep in, and you know, your bandmates might go off the boil for a bit, you know, they might get tired of it, and someone still needs to kind of keep that, keep the delusion up and keep pressing on, and it's it it is hard work, but I think A, it's it's lovely to hear the record like reaching people and people having their own opinions about it, and saying, I've listened to this a lot, which you know that that to me is like the main thing that I want to achieve. But also there's a degree of vindication because it's like I I knew this was good, like I knew this was going to be a good record. And we've put records out before that I thought were were good and they don't always cut through, and you think, oh, maybe maybe the time wasn't right or whatever. I think we've been very lucky with the time, it's come out in spring. We got a fantastic cover artist in to do it, so they basically just reproduced what was in my brain on this on on the sleeve. Um and so it's just you know, hearing people give it great reviews and you know, just people buying copy after copy is it's a really nice vindication.

Tour Plans And Future Record Ideas

colleyc 30:50

So awesome. Well, well deserved. I mean, you've invested um a lot of you in your music, and we're thankful for it. Thank you, Matt. Thanks for making this record and putting it out. If you have the privilege to go and see the Leaf Library, do it. Um buy a t-shirt, buy a record. There's a lot of money that goes into these things, and it's really the only way we can pay these artists for making our lives better and allowing us to work through shit too as we listen to these records. Um Matt, are what what is on the horizon for 2026 the rest of this year into the summer? Um are you heading out on the road with this record? And are is there any other um thoughts of other records coming in the future that you can say?

The Leaf Library 31:42

Always sorts of other records, Chris. Yeah, that it's it's non-stop. So we've been we spent the last week or so playing in sort of like the south and the Midlands around the the UK doing gigs, which has been great because I just wanted to get out and and get out of London and and meet some new people. So yeah, I think uh there's not many dates left. We've got a little mini festival we're doing in May after the tour's finished, and then we'll maybe do some more dates towards the end of the year. But yeah, in terms of next recording, um, we did an album a few years ago with a Japanese artist called uh Teriuki Kurihara, and it was sort of a swap. We sent him some drones, he turned it into this quite sort of harsh electronic thing, and so he sent us some drones, and we're building some of our pastoral pop music around it, and it's it yeah, it takes longer than you think to do that. So I th the songs are all pretty much written. Um, we've just got to work out how to we've got write some lyrics um and then work out how and you know what bits to re-record and and what bits to keep. So uh that's probably gonna be a couple of years before that. Um we've got side projects and and things on the go, but I I think I will find it very difficult not to quite quickly dip back into our song folder and just you know start. We've got we've got Thunderhead as a as a title, so it almost feels like Thunderhead part two is gonna start. It's waiting. Yeah, yeah, three K.

colleyc 33:13

Well, I look forward to it. And thanks for everything you put out on Bandcamp. So we have lots to listen to of the Leaf Library as we await possibly new music. But this latest record, people, I'm telling you, go and just listen to it if you haven't already and you won't stop listening to it after the rain stream seeds. Um, Matt, thank you so much. I wish you all the best too in your writing, your process, your family, your all the things that make up your life and thanks so much for putting this record out. It's it's it's really phenomenal. And I can feel the love that you put into it, just listen to it.

The Leaf Library 33:57

So that's lovely to hear. Thank you, Chris. Thank you for listening to it, and thanks for having me on your podcast to uh to waffle on about it. It's lovely. Thank you. Thanks, man.