23.7.26

Run Logan Run - Prey / LV / Ears (Ankh Sanctuary)

🌍 PR / Radio campaign x Run Logan Run new EP An Ear In Place Of A Mouth.

‍

"I'm trying to make time and space to listen more — to listen to the trees blowing in the wind, the sound of raindrops on the pavement, birds singing at the wrong time of day because they got confused by the street lamps." So says Andrew Neil Hayes, the saxophonist, producer and founding member of Run Logan Run. It's a sentiment that goes to the heart of An Ear In Place Of A Mouth — the final instalment of the Prey / LV / Ears trilogy, and their most ambitious statement yet.

The EP is the culmination of years of solitary experimentation. Since 2022's Nature Will Take Care Of You, Hayes has been holed up in his Ankh Sanctuary studio — a Bristol recording space and independent imprint he built and runs himself — treating the room itself as an instrument. "I built it as a safe refuge," he says, "and it turns up on my gratitude list every single day." 

He emerges with a bold new cast of collaborators: BB.JAMES, a London-based singer-songwriter and producer whose credits include Kermit (Black Grape), DJ Greg Wilson and Liam Bailey; Gina Leonard, the crystalline lead voice of Bristol alt-pop duo Mumbletide, who has previously worked with Stew Jackson (Massive Attack); and Samuel Fox — aka Mossfellow — a London-based multi-instrumentalist and producer currently working with Supalung. Each brings their own singular vision to a record that could only have been made this way, by these people, at this moment.

The release is accompanied by a limited edition box set — printed artwork, a hand-typed personal letter and all three EPs on 12" vinyl — available to preorder via Bandcamp.

An Ear In Place Of A Mouth opens with a solo saxophone — distant at first, then drawing closer — repeating melodic mantras like a prayer charged with intent. Before long the drums kick in and catapult you into something stranger: a psychedelic drift through Hayes's spoken voice, a poem about mortality. "This might be the last time I see you."

The record's five track titles, read in sequence, form a single philosophical provocation: Praying to a God you don't believe exists, how long does this last. It is an album-length question with no easy answer. The EP focus track, “You Don't Believe (I Couldn't Be)”, captures the spontaneity at the heart of the record — built entirely from the first studio jam Hayes had with BB.JAMES. "I sent a kick drum through the tape delay and she started singing this powerful chant over the top," he recalls. "What you hear on the track is that very first take." “To A God (Compassion)”, meanwhile, has a different origin story: recorded on a four-track machine and then forgotten for a year, it only resurfaced when Hayes was hunting through old cassettes for blank tape. "It jumped straight out," he says. "I immediately bounced it onto the computer" — and knew straight away he wanted Gina Leonard on it.

The music moves between meditative and visceral — tape loops and four-track recordings sit alongside live drums and electronics, bound together by Hayes's restless saxophone and the voices of three fiercely individual collaborators. Hypnotic, heavy and impossible to categorise. It is also a deliberate act of resistance. "This act of music-making isn't a novelty to be reduced to ones and twos and used for fodder by the techno-oligarchy. It's a non-negotiable spiritual necessity. We need to listen. Honestly, f— Meta, f— Alphabet Inc, f— Apple, f— Spotify, I could go on — f— all those leeches. We need to maintain an open mind and remind ourselves this isn't the way, just a way. We need to keep trying to imagine new possibilities for the future."

Though this EP completes the trilogy, Hayes is already looking ahead. "I'm planning two very special shows at the end of the year," he says, "like nothing you will have heard or seen before."

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Run Logan Run - Prey / LV / Ears

Run Logan Run - Prey / LV / Ears (Ankh Sanctuary)

🌍 PR / Radio campaign x Run Logan Run new EP An Ear In Place Of A Mouth.

‍

"I'm trying to make time and space to listen more — to listen to the trees blowing in the wind, the sound of raindrops on the pavement, birds singing at the wrong time of day because they got confused by the street lamps." So says Andrew Neil Hayes, the saxophonist, producer and founding member of Run Logan Run. It's a sentiment that goes to the heart of An Ear In Place Of A Mouth — the final instalment of the Prey / LV / Ears trilogy, and their most ambitious statement yet.

The EP is the culmination of years of solitary experimentation. Since 2022's Nature Will Take Care Of You, Hayes has been holed up in his Ankh Sanctuary studio — a Bristol recording space and independent imprint he built and runs himself — treating the room itself as an instrument. "I built it as a safe refuge," he says, "and it turns up on my gratitude list every single day." 

He emerges with a bold new cast of collaborators: BB.JAMES, a London-based singer-songwriter and producer whose credits include Kermit (Black Grape), DJ Greg Wilson and Liam Bailey; Gina Leonard, the crystalline lead voice of Bristol alt-pop duo Mumbletide, who has previously worked with Stew Jackson (Massive Attack); and Samuel Fox — aka Mossfellow — a London-based multi-instrumentalist and producer currently working with Supalung. Each brings their own singular vision to a record that could only have been made this way, by these people, at this moment.

The release is accompanied by a limited edition box set — printed artwork, a hand-typed personal letter and all three EPs on 12" vinyl — available to preorder via Bandcamp.

An Ear In Place Of A Mouth opens with a solo saxophone — distant at first, then drawing closer — repeating melodic mantras like a prayer charged with intent. Before long the drums kick in and catapult you into something stranger: a psychedelic drift through Hayes's spoken voice, a poem about mortality. "This might be the last time I see you."

The record's five track titles, read in sequence, form a single philosophical provocation: Praying to a God you don't believe exists, how long does this last. It is an album-length question with no easy answer. The EP focus track, “You Don't Believe (I Couldn't Be)”, captures the spontaneity at the heart of the record — built entirely from the first studio jam Hayes had with BB.JAMES. "I sent a kick drum through the tape delay and she started singing this powerful chant over the top," he recalls. "What you hear on the track is that very first take." “To A God (Compassion)”, meanwhile, has a different origin story: recorded on a four-track machine and then forgotten for a year, it only resurfaced when Hayes was hunting through old cassettes for blank tape. "It jumped straight out," he says. "I immediately bounced it onto the computer" — and knew straight away he wanted Gina Leonard on it.

The music moves between meditative and visceral — tape loops and four-track recordings sit alongside live drums and electronics, bound together by Hayes's restless saxophone and the voices of three fiercely individual collaborators. Hypnotic, heavy and impossible to categorise. It is also a deliberate act of resistance. "This act of music-making isn't a novelty to be reduced to ones and twos and used for fodder by the techno-oligarchy. It's a non-negotiable spiritual necessity. We need to listen. Honestly, f— Meta, f— Alphabet Inc, f— Apple, f— Spotify, I could go on — f— all those leeches. We need to maintain an open mind and remind ourselves this isn't the way, just a way. We need to keep trying to imagine new possibilities for the future."

Though this EP completes the trilogy, Hayes is already looking ahead. "I'm planning two very special shows at the end of the year," he says, "like nothing you will have heard or seen before."

‍

Run Logan Run - Prey / LV / Ears (Ankh Sanctuary)

🌍 PR / Radio campaign x Run Logan Run new EP An Ear In Place Of A Mouth.

‍

"I'm trying to make time and space to listen more — to listen to the trees blowing in the wind, the sound of raindrops on the pavement, birds singing at the wrong time of day because they got confused by the street lamps." So says Andrew Neil Hayes, the saxophonist, producer and founding member of Run Logan Run. It's a sentiment that goes to the heart of An Ear In Place Of A Mouth — the final instalment of the Prey / LV / Ears trilogy, and their most ambitious statement yet.

The EP is the culmination of years of solitary experimentation. Since 2022's Nature Will Take Care Of You, Hayes has been holed up in his Ankh Sanctuary studio — a Bristol recording space and independent imprint he built and runs himself — treating the room itself as an instrument. "I built it as a safe refuge," he says, "and it turns up on my gratitude list every single day." 

He emerges with a bold new cast of collaborators: BB.JAMES, a London-based singer-songwriter and producer whose credits include Kermit (Black Grape), DJ Greg Wilson and Liam Bailey; Gina Leonard, the crystalline lead voice of Bristol alt-pop duo Mumbletide, who has previously worked with Stew Jackson (Massive Attack); and Samuel Fox — aka Mossfellow — a London-based multi-instrumentalist and producer currently working with Supalung. Each brings their own singular vision to a record that could only have been made this way, by these people, at this moment.

The release is accompanied by a limited edition box set — printed artwork, a hand-typed personal letter and all three EPs on 12" vinyl — available to preorder via Bandcamp.

An Ear In Place Of A Mouth opens with a solo saxophone — distant at first, then drawing closer — repeating melodic mantras like a prayer charged with intent. Before long the drums kick in and catapult you into something stranger: a psychedelic drift through Hayes's spoken voice, a poem about mortality. "This might be the last time I see you."

The record's five track titles, read in sequence, form a single philosophical provocation: Praying to a God you don't believe exists, how long does this last. It is an album-length question with no easy answer. The EP focus track, “You Don't Believe (I Couldn't Be)”, captures the spontaneity at the heart of the record — built entirely from the first studio jam Hayes had with BB.JAMES. "I sent a kick drum through the tape delay and she started singing this powerful chant over the top," he recalls. "What you hear on the track is that very first take." “To A God (Compassion)”, meanwhile, has a different origin story: recorded on a four-track machine and then forgotten for a year, it only resurfaced when Hayes was hunting through old cassettes for blank tape. "It jumped straight out," he says. "I immediately bounced it onto the computer" — and knew straight away he wanted Gina Leonard on it.

The music moves between meditative and visceral — tape loops and four-track recordings sit alongside live drums and electronics, bound together by Hayes's restless saxophone and the voices of three fiercely individual collaborators. Hypnotic, heavy and impossible to categorise. It is also a deliberate act of resistance. "This act of music-making isn't a novelty to be reduced to ones and twos and used for fodder by the techno-oligarchy. It's a non-negotiable spiritual necessity. We need to listen. Honestly, f— Meta, f— Alphabet Inc, f— Apple, f— Spotify, I could go on — f— all those leeches. We need to maintain an open mind and remind ourselves this isn't the way, just a way. We need to keep trying to imagine new possibilities for the future."

Though this EP completes the trilogy, Hayes is already looking ahead. "I'm planning two very special shows at the end of the year," he says, "like nothing you will have heard or seen before."

‍