AN album full of love songs.
This is how I Know Leopard lead vocalist and chief songwriter Luke O’Loughlin describes the Sydney’s four-piece’s debut album Love Is A Landmine.
“Our relationship started smack bang in the middle of the writing period for this album,” Luke explains. “The foundation from which it began is a terribly rocky one which threatened to implode the band and proved to be traumatic for both Rosie and myself.”
“We just wanted to give all the music we love a place to live in the modern world.”
Here’s Luke’s revealing track-by-track breakdown of I Know Leopard’s debut.
Heartbreak is something I’ve experienced quite a lot of in my adult life. For me it’s something that hurts exactly the same every time it happens. You don’t get any better at dealing with it from your first experience to your most recent. Around the time
This is the closest the album gets to a ballad. It was also our big
Our relationship started smack bang in the middle of the writing period for this album about two years ago. The foundation from which it began is a terribly rocky one which threatened to implode the band and proved to be traumatic for both Rosie and myself. Rosie was married and was also at the time in the midst of challenging beliefs she had held dear growing up in a religious community. We had been in love with each other since she joined the band. After successfully repressing these feelings for so long we finally gave in. It obviously spelt disaster for Rosie’s home life and sent me into deep guilt and despair over the fact I might have ruined the band along with her marriage. Worst of all I was worried I might have lost Rosie for good.
Miraculously, after some time, we beat that odds that our relationship wouldn’t survive through it all. We gave it a shot and here we are two years later – happier than ever.
This was made from the remnants of a song that didn’t quite make the cut for the album. Initially it was a tough one to let go of as we all really loved the sound design of the song and some of the chord changes were real heart melters. It was just the lyrics and melodies that didn’t get there for us. One day I was messing around with the stems and by stripping away the vocals and most of the rhythm section, it worked really beautifully as an instrumental. I’m so glad we were able to find a place for it on the record and that we were able to salvage the things we loved most about the track in the first place.
I wrote this song around the time Rosie and I were trying to make a go of a relationship in the wake of all the trauma. We were both riddled with guilt about what was happening but at the same time we couldn’t be without each other. It was really difficult to see Rosie so constantly weighed down by the torment of it all, so I wanted to be the person that she could offload everything onto. I just wished there was a way she could transfer some of that pain to me so that I could make it more bearable for her. I remember one day she was really depressed and completely forgot to go to work. As she raced out the door I yelled out to her, “You can blame it on me!” Then I went to the studio that day and wrote this song. Fun fact: that recording of the little girl poem in the bridge of the song is actually me with a pitch shifter on my voice.
The importance of learning to love yourself before you can successfully love another is an idea the record touches on from time to time. I’ve battled with depression and anxiety throughout a large part of my adult life and I’ve always found it to be an obstacle when entering new relationships. For a long time I was getting far too good at presenting a fabricated version of myself that only lead to hurting and disappointing others down the track and in turn further alienating and hurting myself. Lyrically this song centres on this idea but in line with the rest of the record, it’s presented against a pretty whimsical backdrop. You can probably hear the touchstones of my favourite ’70s bands here too. There’s
I feel like this is the anomaly of the album. It really came out of left field. A lot of people have told me they hear
I grew up in the Adelaide Hills on a serene six-acre property. My parents still live there and they have kind of a granny flat which has these big windows looking out onto the property and in particular onto a kind of valley of tall, skinny European trees. I go there as often as I can to write and it is the place where most of the songs off this record were conceived. When you stand in the middle, surrounded by those beautiful tall trees, it feels like they’re shielding you from all the bad things in the world. If this sounds childlike it’s probably because it’s a relationship I’ve had with those trees since I was a kid. For those few moments you’re just simply existing along with all the birds and bugs that it is home to. So this song is a love letter to this place. The world can be suffocating at times but it’s nice to be able to return to this special place and feel free from any judgement and be reminded of some of the simple beauty in the world.
I read the phrase “shiver yourself warm” in the Ernest Hemingway novel The Old Man and the Sea. I thought it was a beautiful expression that perfectly captured the idea of overcoming adversity of any kind. More specifically, I found that it keyed into my personal experiences with depression. Overcoming my spells of depression have often felt like I was shivering myself warm. It’s not an option to target the source of the feeling in an attempt to fix it. It’s just always there with you and you often have to just bunker down and see it through till it dies down.
For what is quite a sombre subject matter, this song is probably one of the poppiest on the album. We were close to leaving it off as we thought it might be too much so but we came around to really love it. It’s definitely got my favourite drum sound on the record. I remember the snare drum sounding like it was almost going to crack the studio speakers when we recorded it.
This song slowly morphed over time. We originally thought it was going to work as a single but that was before we added what is almost like a second act to the song. Then we really enjoyed its freedom as an album track. In the studio we would just jam that second section for ages partly because we wanted to capture some unplanned, playful moments but mainly because it was just a lot of fun. There’s no hiding the 10cc/