Como produtor, Patrick Leonard ajudou a criar discos que definiram a carreira de Madonna, Pink Floyd, Elton John, e Fleetwood Mac, e muitos outros. Mas pela primeira vez em duas décadas, Leonard edita a sua própria música. Este duplo album com 16 faixas afirma eloquentemente o seu génio artístico.

• 2LP Vinil 180g Audiófilo Prensado na RTI, USA
• Mistura por Kevin Killen e masterização por Bob Ludwig
• Corte por Chris Bellman na Bernie Grundman Mastering
• Produzido por Michael Fremer
• Capa Gatefold e design pela StormStudios

Patrick Leonard — It All Comes Down To Mood

Double LP Mastered for vinyl by Bob Ludwig at Gateway Mastering

Lacquers cut by Chris Bellman at Bernie Grundman Mastering and Pressed at RTI

Vinyl Shepherded by Michael Fremer (TrackingAngle, The Absolute Sound)

Cover art by Storm (Dark Side of the Moon)

"If you are tired of formulaic music like myself, this album by Patrick Leonard will make you sit up and take notice. Surprising melodies, incredible music played perfectly by all concerned. For me it is manna from heaven listening to the unexpected twists and turns. A brave album and one that is a complete triumph. Having had the pleasure of working with Pat this made me feel grateful. And made me feel ALIVE." — Elton John

Patrick Leonard's new double LP — It All Comes Down To Mood — will be released on July 26, 2024.

Just to be sure you know him: Leonard produced Amused to Death for Roger Waters, produced two of the three final Leonard Cohen albums, and co-wrote many songs with Cohen for the final three records, he produced Songs From the West Coast for Elton John and also co-wrote and produced all of Madonna's early records for Warner Brothers. And there's more.

He founded the critically acclaimed early 90's alt-rock group Toy Matinee. But for the first time in two decades, Patrick Leonard is releasing music that is all his own: It All Comes Down To Mood, a sprawling, 16-track double album that brilliantly conveys his artistic genius.

So what does It All Comes Down To Mood sound like? The best genre descriptor might be "art-pop." The songwriting is adventurous, both musically and lyrically. Elemental influences of all Patrick Leonard's famous clients emerge in an organic way — but not overtly.

"My vocabulary is pure 60's and 70's rock 'n' roll and prog rock, but when I'm working, if something that I'm doing reminds me of someone else's music, I stop," says Leonard."I have no interest in being an emulator."

The common denominator between the classic albums which influenced Leonard and his own album is that they reward attentive listening. Each of the album's 16 tracks are like masterpiece paintings, which reveal more the deeper you listen. The production is pristine, the playing is endlessly tasteful and the lyrics thought provoking. But what brings it together is an emotional component that is rarified in modern music.

Supported by a dream cast of supporting musicians: Tony Levin, Tim Pierce, Wendy Melvoin, John Patitucci, Aaron Stirling, Martin Barre, James Harrah, Ian Anderson, Anna Mjoll, Gerry Leonard and Paul Franklin — and working without the typical budgetary or creative restraints usually imposed by major labels, It All Comes Down To Mood is a record that probably couldn't be made by anyone else today.

"At one point I realized this record had a lot to do with the '70s, so I decided to impose some rules on it. I wouldn't use any keyboards that didn't exist in the 70s and none that came to be after that; basically no modern synthesizers and certainly no PC-based synths. While writing the music I found myself using odd bar lengths and time signatures, something I hadn't done or thought about in years. I think I'd discovered the subjects/ POV that the narrator was going to take on and re-discovered the 15-year-old boy inside me who loves progressive rock music as well as vinyl records."

Leonard has taken great pains to ensure that the vinyl package of It All Comes Down To Mood is something that 15 year old boy would be impressed by. Firstly, Leonard commissioned the legendary StormStudios, founded by the late designer Storm Thorgerson, to design the album artwork. Analog revivalist Michael Fremer consulted with Leonard on the vinyl package, which features a tip-on jacket, was cut by Chris Bellman at Bernie Grundman Mastering, and mastered by legendary engineer Bob Ludwig as his last project on his last day at Gateway Mastering prior to his retirement. The double album was lovingly sequenced by sides, both for thematic continuity and sonic benefits. Fremer brought test pressings of the record to various audio shows over the past few months and reviewed it for vinyl enthusiasts who were "blown away" by the music and the sound — in several cases, the demo received a standing ovation when the record was done playing.

Patrick Leonard's goals for It All Comes Down To Mood are a bit ambivalent. "There's some liberation in this new record. I think music and its content have suffered from what technology brought to the party. I won't go into this too deeply because I'll just sound like a grouchy old snob (which maybe I am), "says Leonard. "I'll admit that I liked it better when musical aspirations were more about being better as a musician, and less about chasing digital celebrity. If all the stars in the sky were digital projections except one, how would you ever find that one?" he ponders.

With It All Comes Down To Mood, Patrick Leonard has put a new star in the sky, made from heart, soul, and will. It shines brightly.

Lista de Faixas:

01. Hat and Coat
02. When It Comes To Giants
03. Maniac Hill
04. Jimmy Upside
05. Sad Ass World
06. Anderson and Council
07. Mary Saw Angels
08. At The End Of The Day
09. Bishops of Fright
10. In Came The Fool
11. For Her
12. Devil's In The Rain
13. Up In The Sky
14. Looking For A Heart
15. When It Comes To Giants Part 2
16. A Walk In The Woods

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