Tom Leonard’s "What Has Been and What Will Be": Immersive journey focused on transformations

Tom Leonard’s What Has Been and What Will Be, released on February 6th through Shore Dive Records, is his second album and a clear step forward in how confidently he handles his sound. Written at home in Manchester and later mixed and mastered at Woods Studio in Norway by Bjorn Kulseng Berg, the record carries a personal weight that runs deeper than genre labels. From “Clarity” through to the closing track “Fade Away,” Leonard keeps returning to ideas of memory and what we choose to carry with us, weaving them into songs like “Stay Gone” and the title track without turning them into slogans. The result is a shoegaze album that feels intentional and self-aware, grounded in its influences but not limited by them.

How the Album Sustains Its Central Idea Across the Tracklist

Time is not treated as a decorative theme on What Has Been and What Will Be. It runs through how the songs are placed and how they expand. “Clarity” opens without forcing a dramatic peak, beginning with hazy guitar textures and a steady rhythm before the arrangement thickens. That steady build continues into “Hidden You Hidden Me” and “Out Tonight,” where the vocals remain clearly audible instead of disappearing beneath distortion. When “Stay Gone” reaches one of the album’s loudest moments, the increase in volume does not overwhelm the melody. The guitar layers grow denser, but the vocal line remains present, keeping the focus on the writing rather than the noise. The first half of the album widens in this controlled way instead of jumping between extremes.

“The Fathoms Deep Pool of Love” introduces arpeggiated synth lines that bring in electronic elements while keeping the overall direction intact. This aligns with the description of the album as fusing 90s shoegaze with electronica and post-rock, but the core songwriting remains consistent. Written and recorded at home in Manchester and later mixed and mastered at Woods Studio in Norway by Bjorn Kulseng Berg, the production keeps the bass, guitars, and vocals distinct so that each part can be heard. By the time “What Has Been and What Will Be” reaches the refrain about not being able to intervene in what has been but being able to change what will be, the message feels supported by the tracks that precede it. “Fade Away” closes the album without introducing a sudden stylistic shift, reinforcing the same attention to memory and forward movement established from the opening track.

Leonard’s Vocal Approach Across the Album

Tom Leonard does not try to overpower the music with his voice. On “Stay Gone,” even as the guitars build, he keeps his vocal grounded within the track so the melody stays intact. It gives the song lift without turning it into something dramatic for the sake of it. In “In Circles” and “Out Tonight,” he drops into a lower register and lets the vocal sit more prominently, which changes the mood immediately. Those tracks feel closer, more exposed, and more direct. The shift is subtle, but it matters because it shows he is paying attention to how each song should feel rather than using the same approach across the board.

That awareness becomes clearer on the title track, “What Has Been and What Will Be.” When he sings the line about not being able to intervene in what has been but being able to change what will be, it lands plainly, without theatrical emphasis. Words are allowed to stand on their own. Earlier songs like “Hidden You Hidden Me” carry a similar restraint, keeping the tone reflective instead of exaggerated. Even when the instrumentation thickens, his voice remains audible, which keeps the focus on the writing and the ideas about memory and change that run through the album. Across the record, Leonard adjusts his register and placement with intention, and those decisions give the album depth without needing grand gestures.

What Has Been and What Will Be Reveals About Patience and Control

What becomes clear by the end of What Has Been and What Will Be is how firmly it holds its course. “Clarity” opens without spectacle, and “Fade Away” closes in the same register, creating a sense of cohesion that never feels forced. Across “Stay Gone,” “Hidden You Hidden Me,” and “The Fathoms Deep Pool of Love,” the arrangements expand and contract with care, but the core of each song remains intact. The guitars grow thicker, synth lines appear, volume rises, yet the vocal stays audible and the writing stays central. When the title track reaches its line about not being able to intervene in what has been but being able to change what will be, it lands naturally because the record has already laid that groundwork. Written and recorded in Manchester and later mixed and mastered at Woods Studio in Norway by Bjorn Kulseng Berg, the album shows discipline in how every element is handled. Nothing feels exaggerated for impact. The patience in its construction and the control in its execution give the album weight without making it heavy, and that balance is what ultimately gives it strength.

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