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).