motel void

Laurence León is a new musical project whose debut album Cocoon arrives on September 5th. With Spanish, Chinese, and British heritage, León’s songs weave Mediterranean rhythms and guitar textures together with more traditional alt-rock, indie, and folk influences—Big Thief and Radiohead being the most present reference points. Based in East London, León draws inspiration from the city’s vibrant music scene, particularly the creative hubs of Total Refreshment Centre, Café OTO, and Gillett Square. Their spirit seeps into the record in subtle, unexpected ways, even when León is working within more conventional song structures.

The album is made up of nine tracks. It opens with Jellyfish a spacious, instrumental-driven piece where crystalline acoustic guitar intertwines beautifully with hazy, reverb-soaked electric lines, creating a hypnotic atmosphere. Floating above it all is León’s voice – clear, inviting, and pulling the listener deeper into the record.

Next comes Load Me Up marked by León’s playful use of vocal effects, at times leaning into a robotic timbre. It might not appeal to everyone, but it contrasts intriguingly with his natural voice. What stands out most, though, is the dreamy instrumental passage in the second half of the song.

The title track, Cocoon, begins with another delicate guitar figure. At just over two minutes, it captures a mood of sadness and fragile intimacy, ending with the gentle emergence of a new melody – an understated yet powerful moment.

The album’s middle section is defined by Magpie and Hot Colours Summer. The latter, in particular, expands the record’s palette, drawing on tones that feel at once worldly and almost medieval -distant in time, yet vividly alive. Instrumentally, it builds and swells into a rich, immersive soundscape.

In the second half of the album, Keep Me Talking stands out. Driven by piano, it’s one of the strongest instrumental moments on the record, its insistent rhythm embedding itself in the listener’s memory. The vocal melody feels strangely familiar, leaving me wishing the piano played a larger role throughout the album.

The closing track, Dead Ends – I Can See It All, is also the album’s longest. It begins with ambient textures and a slow, hypnotic beat, before shifting into a warm acoustic and bass interplay. The mid-point break propels the song into its climax: a rhythmically fascinating passage where León repeats the haunting refrain, “I don’t know if it’s meant for me.”

Reflecting on the record, León says: “Cocoon was written over the past three years of falling in love and putting some demons to bed. It’s about capturing that blissful feeling of waking up with distance, perspective, and an acceptance that so often remains elusive.” Listening to Cocoon, it’s fair to say that sense of clarity and release comes through.

This review was made possible by SubmitHub

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