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Leverage Models

by Leverage Models

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Josh Killcrop
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Josh Killcrop These guys rocked my butt off live. There was this one guy in the crowd that just let loose, danced emphatically with abandon and disregard for how silly he looked, for him, it seemed a religious experience, and it opened the door for the rest of us to just let go. Also, that drummer, damn!
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    Limited Edition 12" black & white swirl vinyl. Debut Leverage Models full-length, on Hometapes (record label deceased - NO REPRESS). Includes digital download and bonus digital EP's. Featuring artwork by Peter Ravn, full lyrics. The album features contributions from members of Yeasayer, Sinkane, St. Vincent, The War On Drugs, and LCD Soundsystem, as well as a duet with Sharon Van Etten.

    2015 Year-End Best Artwork by Redefine Magazine and Brightest Young Things.


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This is a boundary for crossing, you know, this is a boundary: cross and you go We came to this place after standing in line with everyone in the world (your sister and I and all the lessons we learned). Empirically sound, the data foretold that we were falling apart Authority held: "hold on, dance on like children, this is nothing at all" If dancing makes you beautiful then your body is lying to you Lay it on the ground Hold him on the ground The way a body runs down is how we love this and with our hands we have made nothing at all -- the cabs are singing this, my friends recording this (and after all we're saying nothing at all) You don't have to go. You don't have to leave if this is not OK, you'd rather be nursed by a stranger than be torn apart -- than you can have it your way. Your sister and I we clicked on a link and so protested this day Our conscience is clear So come on shake it 'til there's nothing at all.
Hold still, hold still I recognize you I'm slow but I hope you're not on medicine now I'm still dancing alone. Where have you been since the revolution? Bullets will find tiny hearts, little hands, any eye… what have I done? If you ever get the chance to go, and if you ever find a way to show it, there isn't much for you to see but much for you to overthrow. If you ever find the time for love, and if your headaches ever start to grow you must immediately slow this dialogue with "holy ghosts". I know, that was dramatic… I've been alone and so i get in the habit I lose myself. Where does it happen? Where are the guns? Where do you dance? I'm slow, but I hope you're not on medicine now Son, take care, the envelope is open wide (what have i done?).
I'll shove the other kids out then we can dance down the hall with you acting like a reeling kite just off the floor and you could see for miles into the noumenal vaults and through your uncle' s stolen car -- it's so phenomenal the way that you move... and i have not moved at all except to beat him down. Then we saw (oh, my god) two shapes fall down as one. I jumped, ran for the smaller one, found out that love can be a baseball bat. By the jaw you had drawn one man out to this mob And somebody's gonna pay for all the carnage this caused for the other "us", holed up. This is just another way forward -- say something honest when they tie you up. Plied out of this crowd of ill-fashioned, imposing friends we un-fashioned our songs. Here, where they rep for a null way of knowing, let's dance ourselves stupid and smile! If you stay on this no-hope lift I will know (disappeared after all): i. no light alights upon another one ii. no sun out on the fence-line iii. no fun iv. flames on the skyline (if that's a skyline) v. it's fun to disappear (overdrawn and shamed because you don't know how this goes).
Sit down. Compare what you are today with something that dazzled my eyes once a hundred years ago. Once a hundred years ago we valued what we stole. Making homes from garbage made you whole. Did you feel, when the least of your brothers fell, you were there? Is it weird knowing I'm for sale? Sit down. I love you. Oh my god. I can't pretend that I'm not failing us. Every intention is making us question our hearts. Speak softly when you sharpen the knife. Remember us academic and slight. It wasn't like that before (but after all it was night). Between ourselves and the door I think the secrets were slightly dull. There was a minute when I believed your smile, contented but never as happy as then. Long ago I loved to push as hard as you could go -- say you miss the friction, say you know. Did you feel, when the least of your brothers fell, you were there? Is it strange knowing I'm for real? Sit down. I love you. Oh my god. I can't pretend that I'm not failing us. Every intention is making us question our hearts. Fake them out and put their happiness first. Fake it all again and see your family smile. Or pretend to put your house on the line. Take it all ("all in") and win your family's pride.
[P1] There is a sensible tone to every author of social hope, but don't expect to love them. [P2] The way you look into your daughter's eyes beneath a canopy of death and free-jazz (alien and mocking), I know this animal needs a job. [Q1] Love taken every night on loan, diffident and shy, shining out, a testimony to someone else's smile held tonight [R1] late again, and lost again [R2] I apologize [P4] Down like the echoes that sink through the floor; you want more so we beat ourselves stupid and sore right out in the open. [Q2] From ritual to reflex as a family goes on, a permanent deployment of defensible wrongs [P5] We have been a burden and we know that we're wrong [P2 --> R1] Give these animals a job [P6] I want to pass out tonight beneath the the weight of your reading light, pretend to some dementia [All P, Q, R] A computation that expresses your mind (that kind of dreadful propositional language) -- sarcastic in deployment of grace -- gives us a break from the heart.
Hoping to god you'd go along, trying to bring you home: I took the job, (failing your heart…so say the Children Of Surveillance who know). Hundreds of times you've shunned me before and hundreds of times you've seen I'm gonna write you 'til you've written me off in a language I cannot read. Once and for all when the zombies have victory I'll learn to dance and you'll step right over me while the sun beats out of time Love's last visit cried "I won't ever change!" stowed away in sunless rooms with dancing shoes and magic on the brain. I tried to love you like a sniper or like a Christian loves his enemies …got along too well with you …forgot to ask you to fashion an escape. Stars so vibrant they rattle your eyes asking us to lie and wait into the raw and over the fire a wandering childlike state Baby, it's too cold for magic - this weather will eat you alive! Maybe some time you can turn on a dime and set my body free once and for all.
Well I don't want to hear or I don't want to be but the drug set you free and I'm here to recognize I know a lot of heroes who never stop singing (but you already know: you asked for this. you made me compromise) It's not like this will be the last time he beats on you and on the god inside his cigarette carries your medicine "It's what I want to know" "It's what I had to do for me" "You might change" Those words are written on a tiny megaphone aimed at me. How long before they sweep us out of this place? If you cooperate I think you will change. How will your architecture stand in this storm without the means to let me carry you off? It's like they NEVER. STOP. SINGING. I know a lot of heroes who never stop singing but you already know. you asked for this. you made me compromise. Well I don't want to heal or I don't want to "be". Stay with me; stay to recognize these facts I want to know why won't you carry on for me? (you might change) If we are not our blood (in fact the opposite) why don't you take it out on me? While I'm not into this, I will do what I'm told to do, how you ask me to, although I'm not in. I will do... ask me to.
Stay Close 02:54
Waking, you say "could it be time? I couldn't even pass for a footnote within my own life" the way a comb loses all of its teeth like it wants to remind us again A mother again, she flattens her joy and waits for your ring-tone. And with a sigh you move a mountain to be with her again in time. This is what you were singing: "not this time, and i will walk away" (yeah, you do that) Stay close and don't forget: you're out of the race! Bundle up like a well-built hive. Wait up. The kind of people you don't pick up may have a way to save your neck, honey. Stay close or follow them home to a city with something to offer. Hilo, I'm a thousand miles from you and your mom and the bikes we stole. I know you're missing the islands and even if she needs you like wine you have to find a common language to speak to her again in time. This is what you were singing: "not this time, and i will walk away"
Every little thing that you are always bursting like a tumor in the car telegraphing certain sentiments like 'how did it get so far?' finding everyone but you. this is how we wallow when we're wild in our sorrow, when tomorrow is a punchline (pinch me) i am shaking to death. You have me so make me your utility, your pathology. Hold upright. Bite down. You have to learn this is emotional arbitrage -- bring it to me. Only the forces of the markets are free! Calling out passing flights, you're passing out from one little trial. There will be no right angles in a house that's losing skin: win-win! (so thin). Now go and burn the books before they see us out here. This is how we wallow when we're wild in our sorrow and tomorrow is a tumor in the car. Only the forces of the markets are free.
Raise your eyes. Cancel your show and I'll come bake you bread, launder your clothes. There's a glow in the barn. There are wolves on the lawn. And a car-full of loans. It's enough not to know. And I'm proud enough to go where I'm told. I'm getting smaller and i'm afraid of how this goes and they are old enough to know and we are old enough to know.


The critically acclaimed and commercially overlooked debut full-length album by Leverage Models. Featuring Sharon Van Etten, and members of Helado Negro, Sinkane, The War On Drugs. Written and made by someone nobody has ever heard of. Mixed and mastered for maximum obscurity. The way we like it.


released October 1, 2013

Produced by Shannon Fields.

Recorded by D. James Goodwin at The Isokon, Woodstock, NY and by Shannon Fields at The Run-In, in Jordanville, NY. Sharon Van Etten's vocals on "Sweep" were recorded by Shannon Fields and Jonathan Kreinik at Midnight Sun, Brooklyn, NY. Jaytram's percussion on Track 8 was Recorded by Roberto C. Lange at Island Universe Space. Cover art by Peter Ravn.

Mixed by D. James Goodwin at The Isokon

Mastered by Chris Athens @ Chris Athens Masters. Austin, TX. U.S.A.

Shannon Fields (BMI) wrote, manipulated, sang, sequenced, and played his songs, with contributions from the following musicians (listed alphabetically):

Jim Altieri - violins (7)
Jesse Blum, piano (1)
Trevor Dunn - bass guitar (6)
Christian Fields - bass guitar (1)
Jeff Gretz - drums, percussion (1-10)
Max Jaffe - drums (2)
Nick Jenkins - backing vocals (3)
Anthony LaMarca - percussion/Simmons (1, 2, 5, 8)
Rob Lundberg - bass guitar (2)
Jon Natchez - alto and tenor saxophones (2, 3, 6)
Laura Ortman - violin (4)
Kelly Pratt - trumpet (6)
Kevin Thaxton - bass guitar (3)
Dave Scanlon - electric guitar (2, 4)
Jason (Jaytram) Trammell - percussion (6)
Sharon Van Etten - vocals** (7)


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Leverage Models Warren, New York

Leverage Models makes pop songs about transubstantiation, ritual abuse, political apathy, divorce, white collar criminals, poverty, white liberal guilt, anxiety, & self-harm. with roto-toms.

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