{"title":"LEAVING RECORDS","description":null,"products":[{"product_id":"deantoni-parks-technoself-technoself-lp","title":"Deantoni Parks, Technoself - Technoself LP","description":"\u003cp\u003eThe relationship between music and technology is always evolving ... but true music can not exist without a soul. Some extraordinary musicians augment their natural talents with technology, adopting its benefits to fuel their own singular vision, and that is the basis of Deantoni Parks' debut album Technoself.\r\u003cbr\u003e\r\u003cbr\u003eParks is one of the finest drummers working today, displaying a sleek and intuitive balance between raw rhythmic physicality and machine-like precision. He can play on one hand what many great drummers could not achieve with two – which he does frequently. His skills have seen him perform with artists such as John Cale, Sade, The Mars Volta, Flying Lotus and his own boundary-pushing group KUDU, among others. Notable collaborations aside, Parks is an artist in his own right, constantly in motion and expanding towards something new. \r\u003cbr\u003e\r\u003cbr\u003eOn Technoself, you hear Parks totally in control. Three of the tracks were recorded live in a session at Dub Lab, the others in a studio. In his own words, \"The sound result of Technoself is a digestion of sounds being refined, filtered, and re-arranged in the time period of the average thought.\" There are no overdubs or loops on this record. The sound is that of \"segmented, split-second curated soundscapes atop a highway of refined, war-drum rhythms.\" The album plays out like a percussive crash course winding through Parks' diverse influences and moods, where the only constant is Deantoni's unmistakable sense of movement. In this case, the most important piece of technology turns out to be the human body.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eBlack Axioms (6:14)\u003c\/li\u003e\n  \u003cli\u003eOur Shadows (3:51)\u003c\/li\u003e\n  \u003cli\u003eDown (2:54)\u003c\/li\u003e\n  \u003cli\u003eGraphite (2:58)\u003c\/li\u003e\n  \u003cli\u003eAshes (4:21)\u003c\/li\u003e\n  \u003cli\u003eMethodist (4:30)\u003c\/li\u003e\n  \u003cli\u003eAutomatic (2:34)\u003c\/li\u003e\n  \u003cli\u003ePebble (3:10)\u003c\/li\u003e\n  \u003cli\u003eFosse in the Grass (4:46)\u003c\/li\u003e\n  \u003cli\u003eBombay (3:28)\u003c\/li\u003e\n  \u003cli\u003eOrbis Magnus (4:27)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120774349115,"sku":"DPT-T-T12V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3448763577_10.jpg?v=1788304240"},{"product_id":"brin-dustin-wong-texture-ii-lp","title":"Brin \u0026 Dustin Wong - Texture II BLUE CASSETTE","description":"\u003cp\u003eTexture II is the debut collaborative record from Dustin Wong and Brin. Literally speaking, there is no Texture I. (Leaving Records completists need not fear!). But the tracks presented here speak to an ongoing and easeful collaboration between the two experimental musicians; such that there may as well be a theoretical series, a Texture I, the way we begin, in media res, with the track “Texture I” (singular) “Broken Trapeze,” which gently coaxes the listener, down and away, to some place slightly estranged——a kind of Wonderland (think: Alice). Here an incidental humor reigns, and—though minimalism isn’t quite the right word—this is a world in which we find ourselves sensitized to the quality, adjustment, and eventual settling of small things, wherein delicate sonic gestures often occasion a welcome emotive release. \u003cbr\u003e\u003cbr\u003eBorn of a live, improvisational, collaborative session on Wong’s long-running Dublab show, both musicians regard their working relationship as among the most intuitive of their careers. Complimentary indeed: Wong’s background with guitar and Brin’s history on drums (particularly his tenure in heavy music) ensure a fitting pairing. Throughout Texture II’s five tracks, generally plaintive and curious, there awaits (as if by doppler effect) an intermittent cacophony—a sudden rush of percussive, synthetic rain. \u003cbr\u003e\u003cbr\u003eWong speaks of the improvisational sessions that comprised the bulk of the album’s writing and recording as a series of dialogues: a way of speaking, mutually, simultaneously, without fear or threat of speaking over one another. Through careful curation (the gentle addition and subtraction of elements), the outer boundaries of songs are mapped and dragged (gently) into daylight. \u003cbr\u003e\u003cbr\u003eOut on August 11, 2023 on cassette and vinyl, Texture II is a slippery (often wetly-sounding so) and satiating record, melding jazz, musique concrète, ambient, and a certain post-internet sincerity, perhaps best exemplified in the subtitle to “Texture IV: Things Turning into Other Things.” These are songs in a tactile realm, shifting, morphing, and dancing for their own delight.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTexture I: Bespoke Trapeze (8:43)\u003c\/li\u003e\n\u003cli\u003eTexture II: Slick Current (3:14)\u003c\/li\u003e\n\u003cli\u003eTexture III: Elevator (1:11)\u003c\/li\u003e\n\u003cli\u003eTexture IV: Things Changing into Other Things (11:57)\u003c\/li\u003e\n\u003cli\u003eTexture V: Sunset Chime (6:12)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120778084667,"sku":"BDW-TI-BC","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2058373210_10.jpg?v=1775845226"},{"product_id":"arushi-jain-delight-lp","title":"Arushi Jain - Delight Cassette","description":"\u003cp\u003eDelight, Arushi Jain’s follow-up to 2021’s seminal Under the Lilac Sky, out March 29 2024 on Leaving, carries, at its core, the simple proposition that delight is accessible and that the practice of cultivating it is a necessary endeavor. Weaving together emotions, imagery, and a sense of yearning for beauty, Jain aims to instill belief in the ever-present nature of delight, asserting the need to actively seek it when not readily found. The enhanced perception of this elusive emotion, Jain asserts, comes through extended observation of the present - the longer we look, the more we see - an idea that serves as a guide in her quest for delight. The introduction of cello, classical guitar, marimba, flute, and saxophone plus rich Indian classical vocals, all layered with modular synthesis, expands her sonic vocabulary to a lush textural landscape and signals new areas of creative focus. \u003cbr\u003e\u003cbr\u003eJain, for the uninitiated, is a multi-hyphenate artist\/musician (composer, vocalist, engineer, modular synthesist) . As has been widely noted, Arushi Jain deploys the sounds and aesthetics of contemporary experimental electronic music to channel, celebrate, iterate upon, and interrogate traditional Indian idioms. Under the Lilac Sky, her first LP (also released on Leaving), constituted an offering of sorts: a six-song suite intended to accompany the listener as they watched the sun’s setting. But while Jain’s last record was concerned with time, space, and our outer environment, Delight is reflective, occasionally approaching the autobiographical—simultaneously a record of an artist’s inward journey, and an invitation\/roadmap for the listener to embark on their own search for delight. \u003cbr\u003e\u003cbr\u003eEach of Delight's nine tracks were inspired by Raga Bageshri (a raga being a melodic framework particular to Indian classical music). Bageshri is said to convey the feeling of waiting to reunite with one’s beloved. It possesses an innate longing, colored by potent fantasies of reunion. “Bageshri embodies the realization that you have unknowingly fallen deeply in love. It triggers within me immense devotion, juxtaposed with a poignant acknowledgement of suffering; for love as immense is often challenging to reciprocate”, Jain writes. “We come into this world alone, and we leave alone. Despite this knowledge, the human capacity for love is without reservation, which I find generous.” She sings of connection to a past and future self, and the creative practice (see the meditation on intimacy, “Our Touching Tongues”), but her longing feels more expansive. The beloved Jain invokes throughout Delight is not a lover, as Bageshri calls for, but delight itself. \u003cbr\u003e\u003cbr\u003eStirred by Raag Bageshri during a creative fallow, Jain decamped to Long Island, where she composed and recorded the core of her new album. She assembled a makeshift studio in an empty house on the seaside, a house suffused with light and art and surrounded by wildlife. This ambience has clearly seeped into the album, drenched as it is in the warm sun as it is in the cold October rain. In her self imposed isolation, Jain experimented with vocal compositions, building songs out of short sung phrases. Jain ended her solitary writing by entering a previously unexplored territory of collaboration, working with acoustic instrumentalists to incorporate classical guitar, cello, marimba, flute, and saxophone into her sonic vocabulary. The result is a collection of songs that are often slower and sparer than those featured on Under the Lilac Sky, yet audibly richer, embracing the transcendental potential of repetition and the nuance of sampling live instruments on her synthesizer. \u003cbr\u003e\u003cbr\u003ePhrases, lyrics, and notes recur, but the feelings they evoke are consistently novel; Delight is diverse and fluid. Each song documents, by Jain’s own account, a tussle with the void, a journey into the unknown. She has opened an unmarked door and returned with small things that bring delight, precious and unexpected; we catch their glimmer in each recording. Indeed, Delight serves as an abject reminder that, through attention, openness, and practice, we are all capable of tapping into this necessary human sensation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStill Dreaming (4:27)\u003c\/li\u003e\n\u003cli\u003eExquisite Portraiture (4:28)\u003c\/li\u003e\n\u003cli\u003eI Surrender (4:26)\u003c\/li\u003e\n\u003cli\u003eImagine An Orchestra (3:27)\u003c\/li\u003e\n\u003cli\u003ePlay In The Void (4:01)\u003c\/li\u003e\n\u003cli\u003eOur Touching Tongues (5:09)\u003c\/li\u003e\n\u003cli\u003ePortal To Silver Linings (4:55)\u003c\/li\u003e\n\u003cli\u003eInfinite Delight (6:12)\u003c\/li\u003e\n\u003cli\u003eYou Are Irresistible (6:33)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003eMusic Detail \u003cbr\u003eArushi Jain: Voice (A1, A2, A4, A5, B1, B2, B3, B4), Synthesizer (A1, A2, A3, A4, A5, B1, B2, B3, B4), Drum Programming (A4, A5, B4) \u003cbr\u003eAnnie Wu: Flute (A4) \u003cbr\u003eMIZU: Cello (A2) \u003cbr\u003ePayton MacDonald: Marimba (B1) \u003cbr\u003eRia Modak: Classical Guitar (A1) \u003cbr\u003eSamuel Newsome: Saxophone (A1, A3, B3) \u003cbr\u003eSongwriting Support: Trijeet Mukhopadhyay \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003esmoky clear cassette shell\u003c\/li\u003e\n\u003cli\u003efull-color 4panel JCard w.photography, illustration, and liner notes on both sides\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120783458619,"sku":"AJ-D-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1703997291_10.jpg?v=1788281604"},{"product_id":"leaving-records-classic-leaving-records-logo-hat","title":"LEAVING RECORDS - CLASSIC LEAVING RECORDS LOGO HAT","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e*Classic chino strapback cap.\u003c\/li\u003e\n\u003cli\u003e*LR logo embroidery on front, philosophy on back.\u003c\/li\u003e\n\u003cli\u003e*Classic LR Logo designed by Jesselisa Twine 2008.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120783917371,"sku":"LR-CLRL","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/0036477019_10.jpg?v=1775844987"},{"product_id":"diva-the-pearly-gates-the-haunted-house-lp","title":"Diva \u0026 The Pearly Gates - The Haunted House CASSETTE","description":"\u003cp\u003eOut on Leaving Records, The Haunted House is the latest EP from Los Angeles-based artist and musician Diva Dompé. Having spent the better part of two decades channeling otherworldly transmissions with projects including Yialmelic Frequencies, BlackBlack, and their current band, Diva and the Pearly Gates, Dompé returns with a deeply personal, unguarded song cycle firmly within the singer\/songwriter idiom. The titular Haunted House is a memory palace of sorts—a portal to the densely-populated imaginary that has been the artist’s lifelong creative well-spring, and an introduction to the companions that dwell therein. Vampires, ghosts, outer gods, and spectral beings of indeterminate nature haunt the edges of these songs: cyphers for nostalgia, longing, ambivalence, depression, healing, and contentment.\r\u003cbr\u003e \r\u003cbr\u003eRecorded in one week, straight to tape, on the outskirts of Death Valley (local birdsong infuses “Lillies Lay”), and engineered by Leaving Records mainstay and fellow psychonaut, Nico Georis, there is an unadorned quality to the Haunted House. With shades of Sibylle Baier and Judee Sill, Dompé’s phrasing is sun-dappled and earnest, an approach most evident on “Solar Kings”: \r\u003cbr\u003e\r\u003cbr\u003e“I cry for a while \/ then watch some TV \/ \r\u003cbr\u003estart speaking in tongues \/ cause I felt lonely \/ \r\u003cbr\u003eI play one chord \/ then play it some more...”\r\u003cbr\u003e\r\u003cbr\u003eFar from self-pitying, her plaintive delivery conveys the curious, altered states one accesses in the midst of a depressive lull. The Solar Kings emerge as the strange angels of this realm. And while their origins and intentions remain occulted, it is clear that Dompé derives a degree of solace and inspiration from their presence. \r\u003cbr\u003e\r\u003cbr\u003eElsewhere, Dompé addresses the twin perennials of intergenerational trauma (“Poison Thorn”) and the intrinsic psychic loneliness of childhood (“Little Vampire Girl”). Eschewing simple narratives or easy judgement, the songs occupy a mythic register—these are ancient and in many ways eternal battles, to which Dompé, rather than fighting, bears resolute witness. \r\u003cbr\u003e\r\u003cbr\u003eTrue to its name, in song-craft and lyrical concerns, The Haunted House is something of a home-coming. Trailing the sonic experimentation of the Yialmelic Frequencies project, Dompé returns, armed (mostly) with a guitar and gilded articulations of a vibrant inner world. It is a release marked by otherness, apartness, and high weirdness, but its warmth is a universal salve.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eShrines (1:11)\u003c\/li\u003e\n  \u003cli\u003eSolar Kings (1:54)\u003c\/li\u003e\n  \u003cli\u003eThe Poison Thorn (3:32)\u003c\/li\u003e\n  \u003cli\u003eLittle Vampire Girl (2:34)\u003c\/li\u003e\n  \u003cli\u003eInsatiable Sadness (2:11)\u003c\/li\u003e\n  \u003cli\u003eLillies Lay (1:50)\u003c\/li\u003e\n  \u003cli\u003eSaved (1:46)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWritten, Performed and Mixed by Diva Dompé\r\u003cbr\u003eMastered by Matthew McQueen\r\u003cbr\u003eRecorded with Nico Georis at Granny's Dancehall in Death Valley\r\u003cbr\u003ePhoto by Lovelle Femme\r\u003cbr\u003eOriginal Artwork by Diva Dompé\r\u003cbr\u003eLayout by Jordan Rundle\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120784081211,"sku":"DTPG-THH-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3487705142_10.jpg?v=1788302512"},{"product_id":"matthewdavid-uncleared-lp","title":"Matthewdavid - Uncleared LP (HABENERO ORANGE)","description":"\u003cp\u003eUncleared is the name of my new 29-track instrumental beat-tape. In a more “back-to-basics” approach to beat-making, this tape began as a creative exercise for myself to return to the music that made me who I am. Around Q3\/Q4 of 2023 I had read about a “one 4-bar loop a day” regimen to keep output flowing, and this practice was entirely effective in churning-out beats during self-imposed down-time for music making amidst my record label\/family balance lifestyle. It was then that I had set a goal to produce \u0026amp; release 40 new beats by the time I turned 40. I found an almost entirely sample-based production flow in Ableton referencing an ongoing list I kept of material to sample \u0026amp; chop as the foundation for the track, culling from the timeless All The Breaks folder for the drums, and finishing the track with a synth bass-line that I’d quickly dial-in \u0026amp; play by hand using Teebs' old M-Audio midi keyboard controller that I am somehow still borrowing and cherish. Most of these beats are under 10 stems in any given project - drastically different in comparison to my projects in the past (Outmind, In My World, Time Flying Beats et al) where stems would be consistently breaching 50+. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eFurthermore relating to the title, I was recently served an uncleared sample notice from a bigger label entity. It’s the first time this has happened so I suppose we’ve been lucky, and it’s honestly the first time I’ve reconsidered casually releasing this type of material - particularly on major streaming platforms. I’m not sure what lies ahead for sample-based music culture - but i'm hopeful it will be able to sustain and evolve as we attempt to emphasize the reclamation of the spaces on the internet where this music can be safely \u0026amp; responsibly shared, supported, and appreciated. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDuring the last few weeks leading-up to release, artist neighbor \/ bestie Aaron Raays would come over to my backyard studio shed at night to listen to the developing material and provide me with trusted feedback notes. I have a habit of whip-testing music obsessively in my 2010 Prius driving around Los Angeles, and at the Leaving offices on the Mobius Acoustics system there. These check-ins were crucial in seeing this one through. Only 29 beats made the cut, but I had a lot of fun making these, and I’m having even more fun performing them.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e1_CAVESHRINE (1:43)\u003c\/li\u003e\n\u003cli\u003e2_DRAGONTEARS (1:20)\u003c\/li\u003e\n\u003cli\u003e3_WINDFISH (1:57)\u003c\/li\u003e\n\u003cli\u003e4_CHRONO (2:02)\u003c\/li\u003e\n\u003cli\u003e5_HATENO (1:33)\u003c\/li\u003e\n\u003cli\u003e6_SKYDIVE (0:59)\u003c\/li\u003e\n\u003cli\u003e7_KOROK (1:10)\u003c\/li\u003e\n\u003cli\u003e8_REGULATE (1:34)\u003c\/li\u003e\n\u003cli\u003e9_WALKONMEDLEY (1:49)\u003c\/li\u003e\n\u003cli\u003e10_STARMAN (1:10)\u003c\/li\u003e\n\u003cli\u003e11_JONIBLUE (1:17)\u003c\/li\u003e\n\u003cli\u003e12_DAYDREAMIN (1:32)\u003c\/li\u003e\n\u003cli\u003e13_THEFLAME (1:05)\u003c\/li\u003e\n\u003cli\u003e14_QUIETSTORM (1:02)\u003c\/li\u003e\n\u003cli\u003e15_BARRYBREAK (0:39)\u003c\/li\u003e\n\u003cli\u003e15_REUNITED (0:52)\u003c\/li\u003e\n\u003cli\u003e17_PROUD (0:52)\u003c\/li\u003e\n\u003cli\u003e18_DENNISANDREW (1:50)\u003c\/li\u003e\n\u003cli\u003e19_CONNY (1:34)\u003c\/li\u003e\n\u003cli\u003e20_BAMBOO (0:57)\u003c\/li\u003e\n\u003cli\u003e21_YOSHIMURA (1:55)\u003c\/li\u003e\n\u003cli\u003e22_EVENSONG (1:13)\u003c\/li\u003e\n\u003cli\u003e23_EVENINGSTAR (1:01)\u003c\/li\u003e\n\u003cli\u003e24_MARIMBAFUSION (0:59)\u003c\/li\u003e\n\u003cli\u003e25_BIGISLANDFLUTE (1:58)\u003c\/li\u003e\n\u003cli\u003e26_REFLECTIONS_W\/CARLOS NIÑO (1:01)\u003c\/li\u003e\n\u003cli\u003e27_ZITHERTRONICCHOPS (2:21)\u003c\/li\u003e\n\u003cli\u003e28_ACCORDIAN (1:03)\u003c\/li\u003e\n\u003cli\u003e29_NBS (1:07)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e*Edition of 200 12\" Habanero Orange Vinyl\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Non-toxic 100% recyclable vinyl records manufactured using injection molding process instead of PVC via Good Neighbor Music.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e(\u003c\/span\u003e\u003ca href=\"http:\/\/goodneighbormusic.com\/\" rel=\"nofollow ugc\"\u003egoodneighbormusic.com\u003c\/a\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*White jackets w.die-cut center circle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Jackets hand-stamped w.art provided by Maurice McCrimmon aka BlissArmyKnife\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Design by AndrewCS\u003c\/span\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120784965947,"sku":"M-U-U12V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3074523063_1x1_700.avif?v=1788296390"},{"product_id":"lionmilk-intergalactic-warp-terminal-222-lp-1","title":"Lionmilk - Intergalactic Warp Terminal 222 DBL-LP","description":"\u003cp\u003eLionmilk, the primary solo project of Los Angeles musician\/composer\/producer, Moki Kawaguchi, for some time now, operates in an explicitly therapeutic mode. 2021’s I Hope You Are Well was originally self-released during the onset of the pandemic as a limited run of home-dubbed cassettes, which Kawaguchi hand-delivered to loved ones’ mailboxes in a sort of guerrilla care campaign—a modest attempt to mitigate the sudden, profound alienation that prevailed during those early lockdown months. When Lionmilk and Leaving Records later collaborated on an official release for I Hope You Are Well, this once humble project’s impact grew exponentially, with countless fans (old and new alike) granted access to the warmth and beauty of Lionmilk’s inner circle. Intergalactic Warp Terminal 222, out March 17, 2023 on Leaving, presents the listener with yet another opportunity for deep cosmic healing. \u003cbr\u003e\u003cbr\u003eWhen discussing Lionmilk, Kawaguchi regularly foregrounds the absolute necessity of music-making as a form of self-care. First and foremost, he produces sounds and songs that provide him with some modicum of solace — “music to feel less whack to.” One gets the sense that he’d be doing exactly what he’s doing (exactly the way he’s doing it) even if he was the last man on earth. But he isn’t. And, in fact, one of Lionmilk’s primary concerns—evident across track titles, as well as the sung and spoken words that dot his releases—is community, or more specifically, what it means to exist and act in his community. Intergalactic Warp Terminal 222 ventures deeper into the paradoxes explored to great effect on I Hope You Are Well. How might we transmit our solitudes via music and to what extent? What does a shared solitude sound and feel like? And, in the context of this transaction, what novel relationships arise between the recording artist and the listener? \u003cbr\u003e\u003cbr\u003eThe record begins with a radio transmission from the depths of Lionmilk’s celestial innerspace— “Hello. Is anybody out there? This is Lionmilk speaking, and you are tuned into the Intergalactic Warp Terminal 222. Standby. We are commencing broadcast” — a retro sci-fi movie motif that recurs throughout Intergalactic Warp Terminal 222’s 26 tracks. But space travel here functions more-so as a metaphor for deep soul work, for journeying inward, through the vast unknowns of one’s own consciousness. What follows is an intimate, diaristic song suite, grounded in the struggle to keep our hearts alive and open amidst an onslaught of daily indignities. \u003cbr\u003e\u003cbr\u003eTracks like “daily i dream,” “lover’s theme,” and “hopeful i can change,” function as brief, instrumental meditations on those moments when hope suddenly, inexplicably eclipses despair. The soulful standout “treat yourself like a friend” contains perhaps the lyrical apotheosis of Lionmilk’s current iteration: “...I get up \/ to pee and drink water \/ treating myself a little bit softer \/ you do your best \/ today will be better \/ I’ll do my best \/ I’ll do my best \/ I promise.” \u003cbr\u003e\u003cbr\u003eComposed of loops, sketches, improvizations, and voice memos recorded directly to a single cassette tape, Intergalactic Warp Terminal 222 flutters, warbles, and lilts along seamlessly — an hour-long, lo-fi and jazzy paean to compassion, while clearly indebted to the ambient idiom, nevertheless constitutes some of the most politically engaged and energizing music yet from Lionmilk.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIGWT 222 (0:40)\u003c\/li\u003e\n\u003cli\u003egifts (1:52)\u003c\/li\u003e\n\u003cli\u003edaily i dream (2:44)\u003c\/li\u003e\n\u003cli\u003elesson in thanks (3:11)\u003c\/li\u003e\n\u003cli\u003ethe gift of sunshine (1:20)\u003c\/li\u003e\n\u003cli\u003eocean in your eyes (3:02)\u003c\/li\u003e\n\u003cli\u003edelicate heart (2:03)\u003c\/li\u003e\n\u003cli\u003edancing cumulus (2:23)\u003c\/li\u003e\n\u003cli\u003ecan't give up now (2:24)\u003c\/li\u003e\n\u003cli\u003elover's theme (1:11)\u003c\/li\u003e\n\u003cli\u003esummer rain (1:38)\u003c\/li\u003e\n\u003cli\u003etalk to me (1:42)\u003c\/li\u003e\n\u003cli\u003eshaneen (3:15)\u003c\/li\u003e\n\u003cli\u003eno question (1:54)\u003c\/li\u003e\n\u003cli\u003ehopeful for change (1:51)\u003c\/li\u003e\n\u003cli\u003ethe joy in us (1:36)\u003c\/li\u003e\n\u003cli\u003etreat yourself like a friend (1:18)\u003c\/li\u003e\n\u003cli\u003elittle by little \/ we grow (2:30)\u003c\/li\u003e\n\u003cli\u003eanxious thing (3:42)\u003c\/li\u003e\n\u003cli\u003emomma's smile (4:15)\u003c\/li\u003e\n\u003cli\u003eit's all in your head (1:04)\u003c\/li\u003e\n\u003cli\u003ei won't give up (1:40)\u003c\/li\u003e\n\u003cli\u003ehold my hand (1:14)\u003c\/li\u003e\n\u003cli\u003eyou are with me, always (5:47)\u003c\/li\u003e\n\u003cli\u003ecomfort is never constant (1:31)\u003c\/li\u003e\n\u003cli\u003ei'll love you, forever (3:32)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120785064251,"sku":"L-IWT2-B2V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3187297749_1x1_700_b5aa2c03-bffc-4977-83af-a6779c02dd19.avif?v=1788300578"},{"product_id":"francesca-heart-eurybia-cassette-1","title":"Francesca Heart - Eurybia Cassette","description":"\u003cp\u003eEURYBIA is the second solo album by Italian artist Francesca Heart. \u003cbr\u003eThe result of a compositional process that began in summer 2020. \u003cbr\u003e\u003cbr\u003eThe work is the product of a series of intimate imaginary projections and aural engagements with a number of geographical sites scattered across the Italian landscape. Places which have resonated with Francesca during various personal travels and pilgrimages, due to their extramundane and often even mystic significance. The most outstanding \/ iconic being the cloisters and gardens of San Gregorio Armeno’s monastery in Naples and the Nympheum of Villa Giulia in Rome. \u003cbr\u003e\u003cbr\u003eIndeed the whole record seems to bring the listener constantly together with the overwhelming, tender presence of the surrounding environment. Seemingly permeated with a feeling of refreshing musky moistures or textured with soft, wet soil, EURYBIA reminds us of walking barefoot near the lush architecture of some ancient, overflowing fountain or amidst the continuous flows of shallow rivers’ bedrocks informing the album with strong physical, sensory qualities. Myth, senses, and imagination become anchors of artistic and healing expression as well as forms of romantic escapism from an ever complex world. \u003cbr\u003e\u003cbr\u003eOn the whole, EURYBIA’s seven tracks alternate dense enmeshment of sounds and melodies with sparse, forthright single-instrumental devotional hymns, working as a personal cartography of ephemeral audio monuments to human, transcendental, and mythographic landscapes. Influences connected by means of nuanced ascendance going from classical New Age music and Video Game soundtracks to digital phone ringtones. The fluttering arpeggios used as the main compositional device coalesce together into an experience of relaxing trance which is yet a glaring, audacious work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEurybia (feat Polonius) (6:02)\u003c\/li\u003e\n\u003cli\u003eGiochi, Dispetti, lo Sguardo della Ninfa (5:00)\u003c\/li\u003e\n\u003cli\u003eL'Inno delle Oceanine alla Bellezza e alla Fortuna (3:06)\u003c\/li\u003e\n\u003cli\u003eNuova Atlantide (3:18)\u003c\/li\u003e\n\u003cli\u003eStella Rugiada (7:34)\u003c\/li\u003e\n\u003cli\u003eA'marina (2:44)\u003c\/li\u003e\n\u003cli\u003eArgentosfere (3:52)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120785129787,"sku":"FH-E-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3982522191_1x1_700.avif?v=1788291020"},{"product_id":"low-leaf-red-moon-lp","title":"Low Leaf - Red Moon LP","description":"\u003cp\u003eLow Leaf is the long-running and multivalent project of Los Angeleno and multi-instrumentalist Angelica-Marie. Riding the wake of 2023’s Microdose—melding\/channeling free jazz, astrology, hip-hop, eco-spirituality, and geo-political anger—Red Moon (out May 24th 2024 on Leaving Records) is a tight, three-song release, a snapshot of Low Leaf during an especially dynamic period.\r\u003cbr\u003e\r\u003cbr\u003eHaving received training in classical piano as a child, Low Leaf is equally adept as a self-taught guitarist, harpist, and producer. Indeed, these four elements (piano, guitar, harp, and beats\/sound design)—their balance, fusion, and occasional clashings—constitute the project’s essential ingredients, though notably there is no guitar featured in Red Moon.\r\u003cbr\u003e\r\u003cbr\u003eFittingly, Red Moon begins with a live rendition of “Blue Nile,” a song written by fellow polymath, searcher, and harpist, thee late, great Alice Coltrane. In this, the Alice Coltrane bumper sticker revival era, Low Leaf’s “Blue Nile” enfolds the listener like a well-worn, well-loved overcoat of indeterminate origin. How is it that we’ve come to be blessed by this strange and beautiful old thing? Who knows…but it fits perfectly. A recording of a live performance at NeueHouse Hollywood, and with the backing of a drummer, bassist, and flautist, “Blue Nile” is a swirling, ecstatic, intermittently improvisational, and ultimately apt take on a new cosmic standard.\r\u003cbr\u003e\r\u003cbr\u003eRed Moon’s subsequent two tracks, “Innersound Oddity” and “How to Open a Portal,” are Low Leaf originals, though both possess (no doubt in part to “Blue Nile’s” bold introduction) an uncanny sense of familiarity. And to be sure, there are some familiar components: “Innersound Oddity,” with its tongue-in-cheek intro of “strap in kids” and its propulsive scuzz, is built atop a beat Low Leaf previously contributed to Fat Beats’ Baker’s Dozen series. The track, true to its name, builds towards a frenetic, odd, warbly climax before suddenly dissembling—a B movie UFO flying off its axis. “How to Open a Portal” (which, incidentally, Low Leaf debuted at the long running Leaving Records monthly showcase, Listen to Music Outside in the Daylight Under a Tree) seems to thread the needle between the two previous recordings. Flute and harp dance helical-wise across and over and throughout an airy rhythmic bed. Soothing and vibey, “How to Open a Portal” likewise reserves some daring climactic surprises for the tail end of its ten-minute-plus runtime.\r\u003cbr\u003e\r\u003cbr\u003e“Every seed I’ve laid has grown into something” says Low Leaf, reflecting upon the breadth of her musical trajectory. The project feels driven by spontaneity, freedom, and intuition. The name itself, Low Leaf, arrived seemingly at random. But the moniker’s multifarious meanings are forever revealing themselves to her—with suggestions of embeddedness, fertility, mortality, and so on. Without succumbing to precious myth-making, it is of note that this is an artist who routinely receives harp lessons via lucid dreams from musicians both real and imagined. Red Moon seems to be a transmission from this very same dream realm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eBlue Nile (7:57)\u003c\/li\u003e\n  \u003cli\u003eInnersound Oddity (5:26)\u003c\/li\u003e\n  \u003cli\u003eHow to Open a Portal (10:23)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded live in Hollywood on October 11th, 2023\r\u003cbr\u003e\r\u003cbr\u003eLow Leaf: harp \/ synth \/ keys \/ vocals\r\u003cbr\u003eBryan Baker: flute \/ saxophone\r\u003cbr\u003eCody Farwell: bass\r\u003cbr\u003eMekala Session: drums\r\u003cbr\u003e\r\u003cbr\u003eMixing and mastering by Zeroh\r\u003cbr\u003e\"Blue Nile\" by Alice Coltrane\r\u003cbr\u003ePhotography by Monica Reyes\r\u003cbr\u003eLayout by Jordan Rundle\r\u003cbr\u003eBio Emmett Shoemaker\r\u003cbr\u003e\r\u003cbr\u003e2024 Leaving Records All Genre\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120785457467,"sku":"LL-RM-VM","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1148555600_2.jpg?v=1788219642"},{"product_id":"cole-pulice-lands-end-eternal-lp-1","title":"Cole Pulice - Land's End Eternal CASSETTE","description":"\u003cp\u003eElectroacoustic saxophonist, improviser, and composer Cole Pulice traffics in shimmering, otherworldly beauty. On the meditative ambient jazz of Land’s End Eternal, Cole adds a welcome new texture with the introduction of the electric guitar, an instrument previously unheard in their music, which took on a central role as a compositional and sonic tool for this record. In 2021, a friend asked to temporarily store their Stratocaster at Cole's during a move. In that window of time, Cole began experimenting with guitar as part of their compositional palette.\r\u003cbr\u003e\r\u003cbr\u003eBefore we cross the bridge into new sonic worlds, we have to approach it. That’s just what Cole does on album opener “Fragments of a Slipstream Dream,” the last track made for this record but one that charts the clearest throughline to the celestial ambient soundscape of their previous release, the stunning 22-minute “If I Don’t See You in the Future, I’ll See You In the Pasture.” A similar ghostly touch pervades “Fragments,” an electroacoustic composition created almost entirely from signal processed saxophone, its undulating melodies rippling atop stippled, clipping textures. One hears shades of Coltrane but the intercession of technology pushes the maximalism of the saxophone drone into full-on deterioration. It’s jarring, snapping you to attention. Hard-cut edits further dissolve the piece from one plane to another, the aural embodiment of decay as seed for growth. \r\u003cbr\u003e\r\u003cbr\u003eBecause the guitar is a new instrument for them, Cole describes their experience with it as akin to “child’s brain,” approaching the instrument with a playful sense of directionless curiosity, rather than the years of history they have with the saxophone. The fruits of this approach are all over Land’s End Eternal, most notably on the suite of tracks called “A Hidden Nook Between Worlds I, II, III.” Both genesis and backbone, these aptly-titled, radiant pieces are composed only of live signal processed saxophone and electric guitar, expanding upon a melody that Cole had been ruminating on for years, one which came to singular life when transported to the guitar. A pastoral, nearly folk-jazz riff opens “Part I,” with an accompanying saxophone melody that’s sweet and low, processed elements rising up around the music like a magnetic cloud. It’s eerie, the way the guitar and saxophone seem to move together yet separately through the fragile space of the song. It’s the resonance between planes captured in the curve of light, refractory yet not without a sense of being settled, like airy bits of debris shaken up when poured into a glass coming to repose at the bottom. That sense of being washed over manifests on “Part II,” strums of guitar falling like raindrops into sonic puddles while the saxophone quietly oscillates outward. On “Part III,” the guitar is at its warmest yet, joined by evocative sax lines worthy of the setting sun. A tender yet buoyant tension exists between the two instruments; one gets the sense they’re holding each other aloft across dimensions. \r\u003cbr\u003e\r\u003cbr\u003eThe notion of a bridge between worlds is a connective thread that runs through all of Land’s End Eternal, but it may be most literal on the elegiac “In This \u0026amp; Every Life,” a piano requiem-composition that blends a field recording of a grand piano, roughed up by its abandonment to the outdoors, with an intimate, hi-fi recording of a felted piano. A very close miked saxophone hovers over the plunking, plangent sounds of the thrashed instrument, the effect of which is to place the piece out of both space and time. The piano abruptly changes, relocating us to the safe and warm confines of a studio, nearly transforming the requiem into a lullaby. But not quite, as the lush threnody of the saxophone keeps the track from fully melting away. The two piano recordings are naturally disparate but when Cole realized they were more or less in the same key, the song came to bright, startling life. \r\u003cbr\u003e\r\u003cbr\u003eThe album concludes with “After the Rain,” a brilliant pastoral chamber-jazz piece for saxophone, multiple guitars, brass choir, and voice. Written shortly after the heavy rains of an atmospheric river swept through the Bay, the music deftly and sweetly captures something of the sublime, the ebb and flow of the transitional chapters of life and all that comes with navigating them. (The title also serves as an homage to Coltrane’s track of the same name). The guitars create and maintain an effervescent foundation, supporting Cole’s saxophone lines in communion with the only other musician on the album: Maria BC, whose gorgeous voice is imbued with a quiet, choral quality that immediately suits the floating, out-of-time magic of the composition.\r\u003cbr\u003e\r\u003cbr\u003eThe Bay Area is a charged place, overflowing with a musical history that infuses Cole's approach to the work on Land's End Eternal; home at various points to visionary composers-performers Pauline Oliveros, David Behrman, Terry Riley, and Pharoah Sanders. The real Lands End is a park in San Francisco, a beach with a rocky shoreline and the capacity to evoke the sensation of an edge. It’s the ‘hidden nook’ of the album’s centerpiece, an actual place transformed into an astral plane where two instruments can orbit one another without end. When the fog rolls in while the sun is setting, if you’re able to catch it at just the right moment, the effect is glistening and luminous. You are enveloped in the bright glow, a phenomenon that is both wholly natural and deeply uncanny. This is the sound of Land’s End Eternal, prismatic and textured, subtly shifting yet never formless, a humming portal into another world.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eFragments of a Slipstream Dream (5:14)\u003c\/li\u003e\n  \u003cli\u003eIn a Hidden Nook Between Worlds I (5:00)\u003c\/li\u003e\n  \u003cli\u003eIn a Hidden Nook Between Worlds II (5:14)\u003c\/li\u003e\n  \u003cli\u003eIn a Hidden Nook Between Worlds III (4:41)\u003c\/li\u003e\n  \u003cli\u003eIn This \u0026amp; Every Life (3:34)\u003c\/li\u003e\n  \u003cli\u003eAfter the Rain (9:01)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAll tracks composed by Cole Pulice.\r\u003cbr\u003eMixed by Cole Pulice and Chuck Johnson, Mastered by Chuck Johnson\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120787718459,"sku":"CP-LSEE-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2021106570_10_857b9881-a349-4051-9812-fbf046f19299.jpg?v=1775845305"},{"product_id":"laraaji-bumper-sticker","title":"LARAAJI - BUMPER STICKER","description":"\u003cp\u003eLive\u003c\/p\u003e\n\u003cp\u003eLove\u003c\/p\u003e\n\u003cp\u003eLaraaji!\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLIVE LAUGH LOVE LARAAJI bumper sticker by Christopher DeLoach\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120793682235,"sku":"L-BS","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/34082480_10.jpg?v=1775845358"},{"product_id":"blankfor-ms-after-the-town-was-swept-away-lp","title":"BlankFor.ms - After The Town Was Swept Away CASSETTE","description":"\u003cp\u003eIn music, form is sometimes so intimately connected to experience as to speak meaning more compellingly than any word could. On After the Town was Swept Away, out September 5th on Leaving Records, BlankFor.ms, aka Tyler Gilmore, finds in rhythm a new vocabulary of self-collection. Confronting both grief and joy, its twelve tracks of tape loop manipulation festoon and murmur — the imperfect cyclicality of tape itself at once a metaphor for the record’s meditations on time, and the actual physical support shaping its sounds.\r\u003cbr\u003e\r\u003cbr\u003eComposed in the aftermath of two quickly succeeding life-changing events for the artist — the birth of his first child, Ellis, in November 2023, and the loss of his mother after a two-year battle with cancer in January 2024 —, the sounds of After the Town was Swept Away were born of unmaking and remaking. The composition process was mostly one of revision: early drum machine sketches were emptied out and degraded, whole songs restructured, tape loops stacked to digest a complex rhythmical biography. Rooted in early experiences in jazz and a long-held love of house and drum \u0026amp; bass, BlankFor.ms’ beat allegiances surface in ways that are never obvious, a vehicle for reinterpreting one’s times anew.\r\u003cbr\u003e\r\u003cbr\u003eCommanding such an articulate rhythmical language, the music of After the Town was Swept Away speaks thus in intense, affectionate, at times uneasy tones. We feel this deeply on lead single \"Formed by the Slide\". Against the offbeat loops of quietly loose, layered held-tone vocals — by composer, vocalist and friend of the artist, Ella Joy Meir —, rhythm emerges in noisier surges as if answering their achingly beautiful call. It is the sound of experience in its barest form: when life speaks, we respond as we can.\r\u003cbr\u003e\r\u003cbr\u003eAfter The Town Was Swept Away was born from love — not just in tender musing, but through actual, felt communion. This is true, for example, of the triptych titled after Kinship, the Highland Park yoga studio where, in 2024, experimentalist Colloboh hosted BlankFor.ms for an impromptu performance to a routine by yogi Meg Shoemaker, from which the three tracks were assembled. But the influence of others — both musical, as with jazz drummer Marcus Gilmore and pianist Jason Moran, with whom BlankFor.ms recently released a collaborative album, and more intimately personal — is felt throughout the whole record, bound together in rhythm.\r\u003cbr\u003e\r\u003cbr\u003eCould it be otherwise? Tape loops have a way of preserving and altering the past at once, marking and unmarking sounds and their sources. The beats on After the Town was Swept Away — pensively yet felicitously — come to terms with just that, their rethreaded rhythms making room for unexpected, unhoped for recollection — a way to survive the flood of experience.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eNever Left (0:39)\u003c\/li\u003e\n  \u003cli\u003eA Fleet Of Celebrants (3:20)\u003c\/li\u003e\n  \u003cli\u003eCrail Family Post Office (3:46)\u003c\/li\u003e\n  \u003cli\u003eKinship I (1:53)\u003c\/li\u003e\n  \u003cli\u003eTo Survive The Flood (4:04)\u003c\/li\u003e\n  \u003cli\u003eUnfurled Atop The Peak (1:59)\u003c\/li\u003e\n  \u003cli\u003eFormed By The Slide (3:25)\u003c\/li\u003e\n  \u003cli\u003eKinship II (1:10)\u003c\/li\u003e\n  \u003cli\u003eAfter The Town Was Swept Away (5:51)\u003c\/li\u003e\n  \u003cli\u003eColter (1:52)\u003c\/li\u003e\n  \u003cli\u003eFerried Across (3:12)\u003c\/li\u003e\n  \u003cli\u003eKinship III (1:53)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComposed and produced by BlankFor.ms \r\u003cbr\u003eMastered by Matthewdavid\r\u003cbr\u003e\r\u003cbr\u003eTrack 2. feat. 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When Lionmilk and Leaving Records later collaborated on an official release for I Hope You Are Well, this once humble project’s impact grew exponentially, with countless fans (old and new alike) granted access to the warmth and beauty of Lionmilk’s inner circle. Intergalactic Warp Terminal 222, out March 17, 2023 on Leaving, presents the listener with yet another opportunity for deep cosmic healing. \u003cbr\u003e\u003cbr\u003eWhen discussing Lionmilk, Kawaguchi regularly foregrounds the absolute necessity of music-making as a form of self-care. First and foremost, he produces sounds and songs that provide him with some modicum of solace — “music to feel less whack to.” One gets the sense that he’d be doing exactly what he’s doing (exactly the way he’s doing it) even if he was the last man on earth. But he isn’t. And, in fact, one of Lionmilk’s primary concerns—evident across track titles, as well as the sung and spoken words that dot his releases—is community, or more specifically, what it means to exist and act in his community. Intergalactic Warp Terminal 222 ventures deeper into the paradoxes explored to great effect on I Hope You Are Well. How might we transmit our solitudes via music and to what extent? What does a shared solitude sound and feel like? And, in the context of this transaction, what novel relationships arise between the recording artist and the listener? \u003cbr\u003e\u003cbr\u003eThe record begins with a radio transmission from the depths of Lionmilk’s celestial innerspace— “Hello. Is anybody out there? This is Lionmilk speaking, and you are tuned into the Intergalactic Warp Terminal 222. Standby. We are commencing broadcast” — a retro sci-fi movie motif that recurs throughout Intergalactic Warp Terminal 222’s 26 tracks. But space travel here functions more-so as a metaphor for deep soul work, for journeying inward, through the vast unknowns of one’s own consciousness. What follows is an intimate, diaristic song suite, grounded in the struggle to keep our hearts alive and open amidst an onslaught of daily indignities. \u003cbr\u003e\u003cbr\u003eTracks like “daily i dream,” “lover’s theme,” and “hopeful i can change,” function as brief, instrumental meditations on those moments when hope suddenly, inexplicably eclipses despair. The soulful standout “treat yourself like a friend” contains perhaps the lyrical apotheosis of Lionmilk’s current iteration: “...I get up \/ to pee and drink water \/ treating myself a little bit softer \/ you do your best \/ today will be better \/ I’ll do my best \/ I’ll do my best \/ I promise.” \u003cbr\u003e\u003cbr\u003eComposed of loops, sketches, improvizations, and voice memos recorded directly to a single cassette tape, Intergalactic Warp Terminal 222 flutters, warbles, and lilts along seamlessly — an hour-long, lo-fi and jazzy paean to compassion, while clearly indebted to the ambient idiom, nevertheless constitutes some of the most politically engaged and energizing music yet from Lionmilk.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIGWT 222 (0:40)\u003c\/li\u003e\n\u003cli\u003egifts (1:52)\u003c\/li\u003e\n\u003cli\u003edaily i dream (2:44)\u003c\/li\u003e\n\u003cli\u003elesson in thanks (3:11)\u003c\/li\u003e\n\u003cli\u003ethe gift of sunshine (1:20)\u003c\/li\u003e\n\u003cli\u003eocean in your eyes (3:02)\u003c\/li\u003e\n\u003cli\u003edelicate heart (2:03)\u003c\/li\u003e\n\u003cli\u003edancing cumulus (2:23)\u003c\/li\u003e\n\u003cli\u003ecan't give up now (2:24)\u003c\/li\u003e\n\u003cli\u003elover's theme (1:11)\u003c\/li\u003e\n\u003cli\u003esummer rain (1:38)\u003c\/li\u003e\n\u003cli\u003etalk to me (1:42)\u003c\/li\u003e\n\u003cli\u003eshaneen (3:15)\u003c\/li\u003e\n\u003cli\u003eno question (1:54)\u003c\/li\u003e\n\u003cli\u003ehopeful for change (1:51)\u003c\/li\u003e\n\u003cli\u003ethe joy in us (1:36)\u003c\/li\u003e\n\u003cli\u003etreat yourself like a friend (1:18)\u003c\/li\u003e\n\u003cli\u003elittle by little \/ we grow (2:30)\u003c\/li\u003e\n\u003cli\u003eanxious thing (3:42)\u003c\/li\u003e\n\u003cli\u003emomma's smile (4:15)\u003c\/li\u003e\n\u003cli\u003eit's all in your head (1:04)\u003c\/li\u003e\n\u003cli\u003ei won't give up (1:40)\u003c\/li\u003e\n\u003cli\u003ehold my hand (1:14)\u003c\/li\u003e\n\u003cli\u003eyou are with me, always (5:47)\u003c\/li\u003e\n\u003cli\u003ecomfort is never constant (1:31)\u003c\/li\u003e\n\u003cli\u003ei'll love you, forever (3:32)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120794992955,"sku":"L-IWT2-T","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3187297749_1x1_700.avif?v=1788300533"},{"product_id":"blankfor-ms-after-the-town-was-swept-away-lp-1","title":"BlankFor.ms - After The Town Was Swept Away BLUE LP","description":"\u003cp\u003eIn music, form is sometimes so intimately connected to experience as to speak meaning more compellingly than any word could. On After the Town was Swept Away, out September 5th on Leaving Records, BlankFor.ms, aka Tyler Gilmore, finds in rhythm a new vocabulary of self-collection. Confronting both grief and joy, its twelve tracks of tape loop manipulation festoon and murmur — the imperfect cyclicality of tape itself at once a metaphor for the record’s meditations on time, and the actual physical support shaping its sounds.\r\u003cbr\u003e\r\u003cbr\u003eComposed in the aftermath of two quickly succeeding life-changing events for the artist — the birth of his first child, Ellis, in November 2023, and the loss of his mother after a two-year battle with cancer in January 2024 —, the sounds of After the Town was Swept Away were born of unmaking and remaking. The composition process was mostly one of revision: early drum machine sketches were emptied out and degraded, whole songs restructured, tape loops stacked to digest a complex rhythmical biography. Rooted in early experiences in jazz and a long-held love of house and drum \u0026amp; bass, BlankFor.ms’ beat allegiances surface in ways that are never obvious, a vehicle for reinterpreting one’s times anew.\r\u003cbr\u003e\r\u003cbr\u003eCommanding such an articulate rhythmical language, the music of After the Town was Swept Away speaks thus in intense, affectionate, at times uneasy tones. We feel this deeply on lead single \"Formed by the Slide\". Against the offbeat loops of quietly loose, layered held-tone vocals — by composer, vocalist and friend of the artist, Ella Joy Meir —, rhythm emerges in noisier surges as if answering their achingly beautiful call. It is the sound of experience in its barest form: when life speaks, we respond as we can.\r\u003cbr\u003e\r\u003cbr\u003eAfter The Town Was Swept Away was born from love — not just in tender musing, but through actual, felt communion. This is true, for example, of the triptych titled after Kinship, the Highland Park yoga studio where, in 2024, experimentalist Colloboh hosted BlankFor.ms for an impromptu performance to a routine by yogi Meg Shoemaker, from which the three tracks were assembled. But the influence of others — both musical, as with jazz drummer Marcus Gilmore and pianist Jason Moran, with whom BlankFor.ms recently released a collaborative album, and more intimately personal — is felt throughout the whole record, bound together in rhythm.\r\u003cbr\u003e\r\u003cbr\u003eCould it be otherwise? Tape loops have a way of preserving and altering the past at once, marking and unmarking sounds and their sources. The beats on After the Town was Swept Away — pensively yet felicitously — come to terms with just that, their rethreaded rhythms making room for unexpected, unhoped for recollection — a way to survive the flood of experience.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eNever Left (0:39)\u003c\/li\u003e\n  \u003cli\u003eA Fleet Of Celebrants (3:20)\u003c\/li\u003e\n  \u003cli\u003eCrail Family Post Office (3:46)\u003c\/li\u003e\n  \u003cli\u003eKinship I (1:53)\u003c\/li\u003e\n  \u003cli\u003eTo Survive The Flood (4:04)\u003c\/li\u003e\n  \u003cli\u003eUnfurled Atop The Peak (1:59)\u003c\/li\u003e\n  \u003cli\u003eFormed By The Slide (3:25)\u003c\/li\u003e\n  \u003cli\u003eKinship II (1:10)\u003c\/li\u003e\n  \u003cli\u003eAfter The Town Was Swept Away (5:51)\u003c\/li\u003e\n  \u003cli\u003eColter (1:52)\u003c\/li\u003e\n  \u003cli\u003eFerried Across (3:12)\u003c\/li\u003e\n  \u003cli\u003eKinship III (1:53)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComposed and produced by BlankFor.ms \r\u003cbr\u003eMastered by Matthewdavid\r\u003cbr\u003e\r\u003cbr\u003eTrack 2. feat. Remy Le Boeuf \r\u003cbr\u003eTrack 7. feat. Ella Joy Meir\r\u003cbr\u003e\r\u003cbr\u003eArtwork by Miko Revereza \r\u003cbr\u003eDesign by Studio Kristian Henson\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120795910459,"sku":"BF-ATTW-BV","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1874061578_10_13bfa397-a23c-43b3-95a2-c603ea2b8a6a.jpg?v=1788297205"},{"product_id":"sam-gendel-sam-wilkes-music-for-saxofone-and-bass-guitar-lp-1","title":"Sam Gendel \u0026 Sam Wilkes - Music for Saxofone and Bass Guitar CASSETTE","description":"\u003cp\u003eMusic for Saxofone and Bass Guitar is a collection of recordings captured live on a Marantz PMD-720 4-Track Cassette Recorder at Mh Zh and Pacê between November 2017 - February 2018 in Los Angeles, CA\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eBOA (5:48)\u003c\/li\u003e\n  \u003cli\u003eTHEEM AND VARIATIONS (3:34)\u003c\/li\u003e\n  \u003cli\u003eTRACK ONE (5:52)\u003c\/li\u003e\n  \u003cli\u003eGREETINGS TO IDRIS (5:10)\u003c\/li\u003e\n  \u003cli\u003eIRISH (5:26)\u003c\/li\u003e\n  \u003cli\u003eKIEFER NO MELODY (4:05)\u003c\/li\u003e\n  \u003cli\u003eYOULL NEVER GET TO HEAVEN (2:47)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSam Gendel plays Alto Saxofone and electronics\r\u003cbr\u003eSam Wilkes plays Bass Guitar and electronics\r\u003cbr\u003e\r\u003cbr\u003ePerformed, recorded, mixed and produced by Sam Gendel + Sam Wilkes\r\u003cbr\u003eMastered by Matthew \"Matthewdavid\" McQueen\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120804921659,"sku":"LR-MFSA-C4E","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a442093566_10.jpg?v=1775845102"},{"product_id":"ras_g-the-afrikan-space-program-stargate-music-lp","title":"Ras_G \u0026 The Afrikan Space Program - Stargate Music LP","description":"\u003cp\u003e“The womb is The Stargate of Humanity” says Ras G, relating to the concept of his latest proper full-length – an astral ode to woman. “Stargate Music is a record that I livicated to the Womb-man…to the Vagina, The Stargate from which beings emanate life on this planet. I gathered these sound pieces and presented it as a reflection of the life cycle of beings on this planet.”\r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eG has always been more to us than an influential L.A. beatmaker, but rather the luminary with an infectiously heartfelt zero-fucks-given philosophy towards raw experimentation in the Los Angeles underground producer scene since the early 2000s.\r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003e“From The Primordial Water Formation we flow thru The Stargate….and one’s great journey reconnecting and returning to the sweet nectar that is The Stargate….and this is the soundtrack to the journey.”\r\u003cbr\u003e-Ras G\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003ePrimordial Water Formations 1 (2:22)\u003c\/li\u003e\n  \u003cli\u003eWater Broken (The Opening Of The Stargate) (4:44)\u003c\/li\u003e\n  \u003cli\u003eThe Arrival  (3:03)\u003c\/li\u003e\n  \u003cli\u003eQuest to Find Anu Stargate (3:15)\u003c\/li\u003e\n  \u003cli\u003eIntimate Reconnections 1st Invite (Ankh) (2:09)\u003c\/li\u003e\n  \u003cli\u003eThe Nector of Stargate (taste) (2:11)\u003c\/li\u003e\n  \u003cli\u003eIs it Lust or Love  (1:30)\u003c\/li\u003e\n  \u003cli\u003eInfinite possibilities  (2:52)\u003c\/li\u003e\n  \u003cli\u003eHeaven is between her legs...(Initiate the return) (2:47)\u003c\/li\u003e\n  \u003cli\u003eThe Great Return (racing seed) \/ Primordial Water Formations 2 (6:02)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eall tracks produced by Ras_G for Ghetto Sci-Fi Music. all rights reserved.\r\u003cbr\u003erecorded \u0026amp; mixed by @ Spacebase 2912\r\u003cbr\u003eartwork by Ron Brown @afroanimeillustrator_RonBrowne \r\u003cbr\u003emastered by Matthew \"Matthewdavid\" McQueen @ Stones Throw Studios\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120805118267,"sku":"LR125","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3651008757_1x1_700.avif?v=1788297923"},{"product_id":"aaron-shaw-and-so-it-is-lp-2","title":"Aaron Shaw - And So It Is LP","description":"\u003cp\u003eBy no means a secret, (and in steady demand,) but certainly in the category of IYKYK, multi-instrumentalist Aaron Shaw is one of Los Angeles’s brightest young Composers, Producers, Arrangers, Band Leaders, and Music Directors. In his Home Studio that he shares with his older Brother, Lawrence (together making up the group Black Nile), Shaw can be found playing Saxophones, Clarinets, Flutes, Keyboards, Drum Machines, and also Engineering Sessions. A frequent fixture at The World Stage in Leimert Park, Shaw has collaborated with everyone from Pan Afrikan Peoples Arkestra, Phil Ranelin, Herbie Hancock, and Miguel Atwood-Ferguson, to Mary J. Blige, Dave Chapelle, Tyler, The Creator, Anderson .Paak, Nightmares on Wax and many more less well known OG, established, emerging, and underground Artists in the LA Jazz, Hip-Hop, Rap, Electronic, and Experimental Music scenes. Born and raised in Ladera Heights, he cut his teeth at the Fernando Pullum Community Arts Center and the LA County High School for the Arts (LACHSA) before eventually entering the tutelage of Kamasi Washington, who he is featured with in tandem Musical conversation on the entirety of the 2025 release Saul Williams meets Carlos Niño \u0026amp; Friends at TreePeople. After years of study, dedication, and gig-work, the path to his first full-length release proved to be a perilous one. And So It Is, out February 13th on Leaving Records, documents the physical, musical, and spiritual transformation thrust upon an already extraordinary talent. \r\u003cbr\u003e\r\u003cbr\u003eIn 2023, at age 27, and after months of troubling symptoms and medical dead-ends, Shaw was diagnosed with bone marrow failure—a state of affairs he succinctly describes as “grim.” To say nothing of the alienation, exhaustion, and fear that accompanies such a diagnosis—the endless testing and treatment protocols—Shaw’s very capacity to play music, the craft to which he had consciously dedicated his life since the sixth grade, was suddenly, radically altered. The key matter was Shaw’s red blood cell count, and his incapacity to produce sufficient oxygen. Breath, the activating force of the wind instrument, was now in short supply. A once-normal gig became a medical gamble. How many stairs to the stage? Could he play in Idyllwild’s higher altitude? \r\u003cbr\u003e\r\u003cbr\u003eThe subsequent process of acceptance was fraught and non-linear (as major health journeys tend to be), characterized by periods of emotional exhaustion (crying spells, social isolation), as well as brave attempts to troubleshoot his limitations (experimenting with new mouthpieces and reeds, changing his posture). Initially frustrated by the resultant changes to his sound, Shaw pushed through. Playing music was still his primary source of solace. Through this self-therapy, and within the constraints of a new playing style, songs began to coalesce. “And So It Is,” a saying Shaw traces back to a childhood immersed in church music, became the mantra for this creative period, and eventually the collection’s title. \r\u003cbr\u003e\r\u003cbr\u003eUnder the nurturing eye of Leaving Record’s affiliate Carlos Niño (percussionist and, notably, the Producer for Andre 3000’s New Blue Sun) And So It Is slowly took shape—An eight song cycle that plums the depths of despair and isolation, as well as the strange clarity that comes from confronting one’s mortality. The aptly-titled first track, “Soul Journey” orients the listener. An initially off-kilter, ruminative, almost rainswept movement gives way to a more focused and propulsive mid-section (one senses grit here, a desire for forward momentum), before gradually laying down to a bed of cello and harp. And So It Is retains an inward focus throughout, and there are moments of transcendence, when the individual concerns plaguing Shaw seem to give way to pure delight in the discovery and expression of musical forms.\r\u003cbr\u003e\r\u003cbr\u003eShaw carefully selected his collaborators for this project, numerous and talented, including Lawrence Shaw and elder statesman Dwight Trible, among others. That track three, “Windows to the Soul,” is an interpretation of a Chick Corea composition, and that track eight, “Never Catch Me Out Of Alignment,” is sort of a cover of a Kendrick and Flylo collab, will intrigue and entertain old and new heads alike. And So It Is is a lovingly produced collaborative document of an artist at a crossroads who has chosen to proceed. Was it ever really a choice, even? While the future remains forever uncertain, for all of us, there is an infinite well-spring of hope and freedom and joy in doing what we do, and doing it well. \r\u003cbr\u003e\r\u003cbr\u003e\t\t\t\t\t\t- Emmet Shoemaker, Saturday Sept 20 2025\r\u003cbr\u003e\t\t\t - additional notes provided by Carlos Niño, Friday Sept 26 2025\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eSoul Journey (4:31)\u003c\/li\u003e\n  \u003cli\u003eHeart of a Phoenix (9:28)\u003c\/li\u003e\n  \u003cli\u003eWindows to the Soul (5:02)\u003c\/li\u003e\n  \u003cli\u003eThe Path to Clarity (3:48)\u003c\/li\u003e\n  \u003cli\u003eEchoes of the Heart (2:52)\u003c\/li\u003e\n  \u003cli\u003eJubilant Voyage (5:10)\u003c\/li\u003e\n  \u003cli\u003eInner Compass (4:42)\u003c\/li\u003e\n  \u003cli\u003eNever Catch Me Out of Alignment (6:46)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAaron Shaw - Alto Flute and Tenor Saxophone\r\u003cbr\u003eAlex Smith - Drums\r\u003cbr\u003eCarlos Niño - Drums and Percussion\r\u003cbr\u003eDwight Trible - Voice\r\u003cbr\u003eKiernan Weggler - Cello\r\u003cbr\u003eLawrence Shaw - Bass\r\u003cbr\u003eMerci B - Harp\r\u003cbr\u003eSam Reid - Piano\r\u003cbr\u003eGhalani - Vocoder\r\u003cbr\u003e\r\u003cbr\u003eProduced by Aaron Shaw with Carlos Niño\r\u003cbr\u003eMixed by Nate Mercereau\r\u003cbr\u003eMastered by Matthewdavid McQueen\r\u003cbr\u003e\r\u003cbr\u003eCover Photo by Sam Lee \r\u003cbr\u003eFrom Living Earth \/ TreePeople, Los Angeles,\r\u003cbr\u003eon Wednesday, December 18, 2024\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120807969083,"sku":"AS-ASII-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2892779542_10_b6d490c9-1144-4be7-ab4f-336d788beb17.jpg?v=1775845278"},{"product_id":"diva-the-pearly-gates-the-haunted-house-lp-1","title":"Diva \u0026 The Pearly Gates - The Haunted House LP","description":"\u003cp\u003eOut on Leaving Records, The Haunted House is the latest EP from Los Angeles-based artist and musician Diva Dompé. Having spent the better part of two decades channeling otherworldly transmissions with projects including Yialmelic Frequencies, BlackBlack, and their current band, Diva and the Pearly Gates, Dompé returns with a deeply personal, unguarded song cycle firmly within the singer\/songwriter idiom. The titular Haunted House is a memory palace of sorts—a portal to the densely-populated imaginary that has been the artist’s lifelong creative well-spring, and an introduction to the companions that dwell therein. Vampires, ghosts, outer gods, and spectral beings of indeterminate nature haunt the edges of these songs: cyphers for nostalgia, longing, ambivalence, depression, healing, and contentment. \u003cbr\u003e\u003cbr\u003eRecorded in one week, straight to tape, on the outskirts of Death Valley (local birdsong infuses “Lillies Lay”), and engineered by Leaving Records mainstay and fellow psychonaut, Nico Georis, there is an unadorned quality to the Haunted House. With shades of Sibylle Baier and Judee Sill, Dompé’s phrasing is sun-dappled and earnest, an approach most evident on “Solar Kings”: \u003cbr\u003e\u003cbr\u003e“I cry for a while \/ then watch some TV \/ \u003cbr\u003estart speaking in tongues \/ cause I felt lonely \/ \u003cbr\u003eI play one chord \/ then play it some more...” \u003cbr\u003e\u003cbr\u003eFar from self-pitying, her plaintive delivery conveys the curious, altered states one accesses in the midst of a depressive lull. The Solar Kings emerge as the strange angels of this realm. And while their origins and intentions remain occulted, it is clear that Dompé derives a degree of solace and inspiration from their presence. \u003cbr\u003e\u003cbr\u003eElsewhere, Dompé addresses the twin perennials of intergenerational trauma (“Poison Thorn”) and the intrinsic psychic loneliness of childhood (“Little Vampire Girl”). Eschewing simple narratives or easy judgement, the songs occupy a mythic register—these are ancient and in many ways eternal battles, to which Dompé, rather than fighting, bears resolute witness. \u003cbr\u003e\u003cbr\u003eTrue to its name, in song-craft and lyrical concerns, The Haunted House is something of a home-coming. Trailing the sonic experimentation of the Yialmelic Frequencies project, Dompé returns, armed (mostly) with a guitar and gilded articulations of a vibrant inner world. It is a release marked by otherness, apartness, and high weirdness, but its warmth is a universal salve.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShrines (1:11)\u003c\/li\u003e\n\u003cli\u003eSolar Kings (1:54)\u003c\/li\u003e\n\u003cli\u003eThe Poison Thorn (3:32)\u003c\/li\u003e\n\u003cli\u003eLittle Vampire Girl (2:34)\u003c\/li\u003e\n\u003cli\u003eInsatiable Sadness (2:11)\u003c\/li\u003e\n\u003cli\u003eLillies Lay (1:50)\u003c\/li\u003e\n\u003cli\u003eSaved (1:46)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120808132923,"sku":"DTPG-THH-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3487705142_10_46542fe4-089e-4ac7-a2a7-135f7f193e9a.jpg?v=1788302573"},{"product_id":"fumitake-tamura-mijin-lp","title":"Fumitake Tamura - Mijin LP","description":"\u003cp\u003eThe title “Mijin” comes from a Japanese word meaning very fine particles. \r\u003cbr\u003eThe album gathers particle-like sounds and lets them resonate in space. \r\u003cbr\u003eAs I watch the movements that arise between them a balance gradually takes shape. \r\u003cbr\u003eWithin those relationships and the quiet tension between them I explored how silence can resonate with sound. \r\u003cbr\u003e\r\u003cbr\u003eThe album begins with the most minimal piano chords then develops by reconstructing fragments of voice and percussion, Rhodes and synths along with traces of jazz and soul. \r\u003cbr\u003eEach sound exists like a particle drifting in air gently resonating with the others to form the structure. \r\u003cbr\u003e\r\u003cbr\u003eI hope that the spaces and silences created by this placement will appear with a presence equal to the sounds themselves. \r\u003cbr\u003e-Fumitake Tamura\r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003e音は無音の 間 にたいして、表現上（この言葉はきわめて一般的な意味として受けとってほしい）の優位にたつものではない。\r\u003cbr\u003e—— 武満徹『音、沈黙と測りあえるほどに』（新潮社、1971年）、196–197頁\r\u003cbr\u003e\r\u003cbr\u003eアルバムのタイトル「微塵（Mijin）」は、非常に細かい粒を意味する日本語に由来しています。\r\u003cbr\u003e “微塵な音”を集めていき、空間の中で響かせながら、それらのあいだに生じるわずかな動きを見つめていくと、やがて全体のバランスが形づくられていきます。\r\u003cbr\u003eそういった関係性と、そこで生じる緊張のなかで「沈黙」と「音」が、どのような共鳴を起こすのかを探りました。\r\u003cbr\u003eアルバムは、録音されたピアノの最小限の和音から始まり、断片的な声やパーカッション、Rhodesやシンセサイザー、そしてジャズやソウルの残響を再構築しながら展開していきます。\r\u003cbr\u003e音は空気中に漂う粒のように存在し、それぞれがゆるやかに響き合いながら構成をつくっていきます。\r\u003cbr\u003eその配置によって生まれる「間」や「沈黙」が、音と同じくらいの存在感をもって現れてくれることを願っています。\r\u003cbr\u003e-Fumitake Tamura\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eInterstice (0:00)\u003c\/li\u003e\n  \u003cli\u003eOstinato (feat. Sam Gendel) (5:22)\u003c\/li\u003e\n  \u003cli\u003eDuration (0:00)\u003c\/li\u003e\n  \u003cli\u003eResonance (feat. 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On the meditative ambient jazz of Land’s End Eternal, Cole adds a welcome new texture with the introduction of the electric guitar, an instrument previously unheard in their music, which took on a central role as a compositional and sonic tool for this record. In 2021, a friend asked to temporarily store their Stratocaster at Cole's during a move. In that window of time, Cole began experimenting with guitar as part of their compositional palette.\r\u003cbr\u003e\r\u003cbr\u003eBefore we cross the bridge into new sonic worlds, we have to approach it. That’s just what Cole does on album opener “Fragments of a Slipstream Dream,” the last track made for this record but one that charts the clearest throughline to the celestial ambient soundscape of their previous release, the stunning 22-minute “If I Don’t See You in the Future, I’ll See You In the Pasture.” A similar ghostly touch pervades “Fragments,” an electroacoustic composition created almost entirely from signal processed saxophone, its undulating melodies rippling atop stippled, clipping textures. One hears shades of Coltrane but the intercession of technology pushes the maximalism of the saxophone drone into full-on deterioration. It’s jarring, snapping you to attention. Hard-cut edits further dissolve the piece from one plane to another, the aural embodiment of decay as seed for growth. \r\u003cbr\u003e\r\u003cbr\u003eBecause the guitar is a new instrument for them, Cole describes their experience with it as akin to “child’s brain,” approaching the instrument with a playful sense of directionless curiosity, rather than the years of history they have with the saxophone. The fruits of this approach are all over Land’s End Eternal, most notably on the suite of tracks called “A Hidden Nook Between Worlds I, II, III.” Both genesis and backbone, these aptly-titled, radiant pieces are composed only of live signal processed saxophone and electric guitar, expanding upon a melody that Cole had been ruminating on for years, one which came to singular life when transported to the guitar. A pastoral, nearly folk-jazz riff opens “Part I,” with an accompanying saxophone melody that’s sweet and low, processed elements rising up around the music like a magnetic cloud. It’s eerie, the way the guitar and saxophone seem to move together yet separately through the fragile space of the song. It’s the resonance between planes captured in the curve of light, refractory yet not without a sense of being settled, like airy bits of debris shaken up when poured into a glass coming to repose at the bottom. That sense of being washed over manifests on “Part II,” strums of guitar falling like raindrops into sonic puddles while the saxophone quietly oscillates outward. On “Part III,” the guitar is at its warmest yet, joined by evocative sax lines worthy of the setting sun. A tender yet buoyant tension exists between the two instruments; one gets the sense they’re holding each other aloft across dimensions. \r\u003cbr\u003e\r\u003cbr\u003eThe notion of a bridge between worlds is a connective thread that runs through all of Land’s End Eternal, but it may be most literal on the elegiac “In This \u0026amp; Every Life,” a piano requiem-composition that blends a field recording of a grand piano, roughed up by its abandonment to the outdoors, with an intimate, hi-fi recording of a felted piano. A very close miked saxophone hovers over the plunking, plangent sounds of the thrashed instrument, the effect of which is to place the piece out of both space and time. The piano abruptly changes, relocating us to the safe and warm confines of a studio, nearly transforming the requiem into a lullaby. But not quite, as the lush threnody of the saxophone keeps the track from fully melting away. The two piano recordings are naturally disparate but when Cole realized they were more or less in the same key, the song came to bright, startling life. \r\u003cbr\u003e\r\u003cbr\u003eThe album concludes with “After the Rain,” a brilliant pastoral chamber-jazz piece for saxophone, multiple guitars, brass choir, and voice. Written shortly after the heavy rains of an atmospheric river swept through the Bay, the music deftly and sweetly captures something of the sublime, the ebb and flow of the transitional chapters of life and all that comes with navigating them. (The title also serves as an homage to Coltrane’s track of the same name). The guitars create and maintain an effervescent foundation, supporting Cole’s saxophone lines in communion with the only other musician on the album: Maria BC, whose gorgeous voice is imbued with a quiet, choral quality that immediately suits the floating, out-of-time magic of the composition.\r\u003cbr\u003e\r\u003cbr\u003eThe Bay Area is a charged place, overflowing with a musical history that infuses Cole's approach to the work on Land's End Eternal; home at various points to visionary composers-performers Pauline Oliveros, David Behrman, Terry Riley, and Pharoah Sanders. The real Lands End is a park in San Francisco, a beach with a rocky shoreline and the capacity to evoke the sensation of an edge. It’s the ‘hidden nook’ of the album’s centerpiece, an actual place transformed into an astral plane where two instruments can orbit one another without end. When the fog rolls in while the sun is setting, if you’re able to catch it at just the right moment, the effect is glistening and luminous. You are enveloped in the bright glow, a phenomenon that is both wholly natural and deeply uncanny. 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Have you ever come across the wisest of them? They will slip right through your fingers, leaving the most unimaginable impression.” \r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eJupiter’s Purse is the debut EP by Dallas, Texas-based artist MATTIE on Leaving Records. Produced in conjunction with fellow Dallasite Black Taffy, Jupiter’s Purse is an expansive and unique work of experimental soul. Featuring 2021’s lauded single “Human Thing,” Jupiter’s Purse broadens a window into the fresh and exciting vision of MATTIE. Explaining the EP’s theme, MATTIE states, “I’m very fond of the planet Jupiter in the astrological sense because Jupiter represents expansion. It also represents the planet that takes everything that it is that we desire to see for ourselves in this life and it expands it, right? I was inspired to call it Jupiter’s Purse because it also reminded me of a female womb in a sense, the incubation process that happens within the womb, and kind of the purse being the womb of Jupiter. And the planet is basically holding our things and incubating them until it’s time to expand them.” \r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eOf collaborating with Black Taffy, MATTIE says, “I felt like his melody and my pen, and the voice that was coming through me and what really wanted to be said through the lyrics, it’s like they just found a home together. And it was so effortless to really just kind of dance with his melodies and write these lyrics and these stories. So that’s basically how we kind of started working together, and yeah, I think we made a baby. A studio baby.” The EP’s five cohesive tracks loosely follow the story of a narrator named Mhuv. MATTIE states, “It’s really a story of myself as Mhuv, and how it’s felt for me to be at times identified with the body as a person, and then other times being able to observe the body, and know myself as that as well, and what that has felt like, kind of being in this sense of duality. Jupiter’s Purse is basically a vocal representation of a lot of duality that I experienced. In coming to know my true self, that duality kind of came more to the forefront, so I started to write from that, and to really understand the power in the duality, while returning back to myself as source.”\r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eDirector Tramaine Townsend provides visuals for the project. MATTIE states, “I wanted it to be clean but experimental, experimental and also clean. I wanted it to have that two-fold. I’ve been listening to a lot of recordings from Virgil Abloh, and he inspired me this year to really appreciate the duality that’s in my work. And even in the visuals, the cleanliness of it, but the experimental aspect. The purist meeting the tourist. The purist being that classic approach to visuals, which I appreciate Tramaine for, and then also allowing me as the tourist, the one that is experimental and that wants to have a different experience… Once you see it, you’ll see the beauty, the continuity of what we’re trying to say.”\r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eMATTIE concludes, “I feel like what I realized is that there’s a home in me that is comfortable no matter where I’m at. And my life is based on finding that and remembering that home within myself. And so my focus on the external things, even though I keep them up and I maintain the physical things, but I realize that my only purpose, if there was one, is to really remember myself, as if to remember that home within myself, so that I can be comfortable no matter where I’m at. And my music is an expansion of that, that surrender to that aspect of this experience which is to come home and find that home within myself. The music is about going through what it feels like when you are on the path to remembering yourself. What it feels like, that oiliness, that stickiness, that bulldozer, the big explosions, the feeling of ground zero, the feeling of heightened senses, the feeling of being a giant but then also you feel like you are David, and there’s a Goliath. I plan on moving through, which is why the character’s name is Mhuv in Jupiter’s Purse, because I see ourselves, everyone on the planet, moving through these spaces and them not being intended to be a sticking point for us. And so Jupiter’s Purse is what I would call maybe a gateway, a womb to the other side. Jupiter is going to expand this project, because that’s what Jupiter does, and has blessed this project already, so I know Jupiter’s going to expand it to be another side of this, where we won’t be speaking from duality, but we’ll be speaking from our natural state as wholeness.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eCellfish (2:37)\u003c\/li\u003e\n  \u003cli\u003eHuman Thing (5:59)\u003c\/li\u003e\n  \u003cli\u003eCloudts (5:11)\u003c\/li\u003e\n  \u003cli\u003eOut This Bitch (4:26)\u003c\/li\u003e\n  \u003cli\u003eSanctify Me (3:49)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003emusic: MATTIE\r\u003cbr\u003eproduction: Black Taffy\r\u003cbr\u003eart direction: Tramaine Townsend\r\u003cbr\u003emixed \u0026amp; mastered: Matthewdavid\r\u003cbr\u003erecorded by: Alex Bhore\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120813179195,"sku":"M-JSP-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a605565890_1x1_700.avif?v=1788305874"},{"product_id":"laraaji-tonings-cassette-1","title":"LARAAJI - Tonings Cassette","description":"\u003cp\u003eLR102 Laraaji – Tonings 1\u0026amp;2 1980s, CS\r\u003cbr\u003e\r\u003cbr\u003e“Tonings 1: Shimmering celestial Zither and OM chant continual deep induction listening for expanded inner-stillness.” -Laraaji\r\u003cbr\u003e\r\u003cbr\u003e“Tonings 2: OM chimes ladder, Kalimba (African thumb piano), hand chimes, spontaneous laughter release, chant, \u0026amp; chimes distortion (heavy at times towards end.)” -Laraaji\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eTonings 1 (32:41)\u003c\/li\u003e\n  \u003cli\u003eTonings 2 (28:28)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120813277499,"sku":"L-T-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1386745641_10_d9955a74-503c-4f2d-8b4e-2046574f20e3.jpg?v=1788303234"},{"product_id":"andrew-cs-caught-in-pointers-lp","title":"andrew cs - caught in pointers LP","description":"\u003cp\u003eandrew cs is a many media artist \u0026amp; creative programmer from the american midwest. exploring recursive time loops through their own digital memories, andrew’s sound blends captured spaces with bending synthesized loops improvised on custom software. following a half-chance encounter with a field recorder as a teen, andrew began cataloging moments of temporary calm - archiving disk drives of present textures in conversation with a future self. following 2021’s “*” EP, their debut album, “caught in pointers”, strings together a non-linear coming-of-age story from 6 years of altered field recordings. collaging data found between the rural landscapes of their youth \u0026amp; the oscillations of chicago as an adult, andrew imagines their own past as a four-dimensional space to navigate freely with digital media.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003ebreeze3 (0:32)\u003c\/li\u003e\n  \u003cli\u003ejan_2014 (3:53)\u003c\/li\u003e\n  \u003cli\u003eletters from ama (1:35)\u003c\/li\u003e\n  \u003cli\u003eleft (0:08)\u003c\/li\u003e\n  \u003cli\u003efinger toes (1:43)\u003c\/li\u003e\n  \u003cli\u003edead leaves \/ morgan brown (4:28)\u003c\/li\u003e\n  \u003cli\u003e* (0:57)\u003c\/li\u003e\n  \u003cli\u003ewakeup (0:13)\u003c\/li\u003e\n  \u003cli\u003eamy's apartment (0:47)\u003c\/li\u003e\n  \u003cli\u003etime is bendy (1:12)\u003c\/li\u003e\n  \u003cli\u003ewhite plastic bag drifting up into the air (5:15)\u003c\/li\u003e\n  \u003cli\u003e[ ] (0:26)\u003c\/li\u003e\n  \u003cli\u003efallen log bridge island (0:48)\u003c\/li\u003e\n  \u003cli\u003etalking to moths (0:59)\u003c\/li\u003e\n  \u003cli\u003ebackyard feeling (2:06)\u003c\/li\u003e\n  \u003cli\u003eneeding 2 slow down (2:12)\u003c\/li\u003e\n  \u003cli\u003eorange traffic safety barrier (2:57)\u003c\/li\u003e\n  \u003cli\u003et (0:16)\u003c\/li\u003e\n  \u003cli\u003ewindfence (1:44)\u003c\/li\u003e\n  \u003cli\u003ewe grow! (4:13)\u003c\/li\u003e\n  \u003cli\u003esister dani (1:07)\u003c\/li\u003e\n  \u003cli\u003efind the best moments (0:12)\u003c\/li\u003e\n  \u003cli\u003enight tone (0:28)\u003c\/li\u003e\n  \u003cli\u003ewhat's after this (3:38)\u003c\/li\u003e\n  \u003cli\u003ethe nxt boogie (3:16)\u003c\/li\u003e\n  \u003cli\u003ewalking home backwards (6:25)\u003c\/li\u003e\n  \u003cli\u003eeverything im afraid to lose (0:26)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eandrew cs:\r\u003cbr\u003efield recordings — 2014-2019\r\u003cbr\u003einstruments, fm synthesis, digital tape, fx, artwork — 2019\r\u003cbr\u003edesign \u0026amp; layout — 2023\r\u003cbr\u003ejade islan sayson: vocals on \"windfence\" — 2019\r\u003cbr\u003ematthewdavid: mastering — 2022\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120818651451,"sku":"AC-CIP-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1329846222_1x1_700_59746c3f-0429-42fb-9f2d-ebe436b08b2c.avif?v=1788303831"},{"product_id":"sam-wilkes-craig-weinrib-and-dylan-day-sam-wilkes-craig-weinrib-and-dylan-day-cassette-1","title":"Sam Wilkes, Craig Weinrib, and Dylan Day - Sam Wilkes, Craig Weinrib, and Dylan Day LP","description":"\u003cp\u003eMost of this recording was made during a single early evening in Southern California, outdoors, with the San Bernardino Mountains in view. \u003cbr\u003e\u003cbr\u003eSam Wilkes played bass guitar, Craig Weinrib played trap drums, and Dylan Day played electric guitar. \u003cbr\u003e\u003cbr\u003eEight months after that dusk recording session, the trio reconvened to capture a few more pieces. Wilkes wanted to hear Dylan play a Jobim melody (How Insensitive), Dylan wanted to hear Craig play a funeral march (When I Can Read My Titles Clear), and Craig wanted to play nice and gentle. \u003cbr\u003e\u003cbr\u003eThe resulting record, a document of an initial and seemingly fated musical encounter, conveys the ease and the intensity of the trio’s chemistry. Their shared sonic affinities, while essential to the record’s sound, feel secondary to the integrity, confidence, and mutual regard that suffuse each note and every beat. \u003cbr\u003e\u003cbr\u003eAtop standards, folk songs, and hymns, Wilkes, Weinrib, and Day unfurl a series of cascading improvisations. Joyful and precise music. \u003cbr\u003e\u003cbr\u003eSam Wilkes is from Westport, Connecticut and lives in Los Angeles, California. Craig Weinrib is from New York and lives in New York. Dylan Day is from Fletcher, Vermont and lives in Los Angeles, California.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStanding In The Doorway (5:41)\u003c\/li\u003e\n\u003cli\u003eToo Young To Go Steady (4:29)\u003c\/li\u003e\n\u003cli\u003eHow Insensitive (3:51)\u003c\/li\u003e\n\u003cli\u003eRain (7:45)\u003c\/li\u003e\n\u003cli\u003eSnow (2:09)\u003c\/li\u003e\n\u003cli\u003eWhen I Can Read My Titles Clear (3:39)\u003c\/li\u003e\n\u003cli\u003eI'll Find A Way (To Carry It All) (4:17)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cul\u003e\n\u003cli\u003e*12\" black vinyl, second edition of 1000 units.\u003c\/li\u003e\n\u003cli\u003e*full-color, illustrated inner-sleeve\u003c\/li\u003e\n\u003cli\u003e*illustration by Claire Hungerford\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120818749755,"sku":"SCD-SCD-LP","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1374760705_10_e98612bb-33be-4412-b34e-0c97c0b1c830.jpg?v=1788287297"},{"product_id":"matthewdavid-uncleared-lp-2","title":"Matthewdavid - Uncleared CASSETTE","description":"\u003cp\u003eUncleared is the name of my new 29-track instrumental beat-tape. In a more “back-to-basics” approach to beat-making, this tape began as a creative exercise for myself to return to the music that made me who I am. Around Q3\/Q4 of 2023 I had read about a “one 4-bar loop a day” regimen to keep output flowing, and this practice was entirely effective in churning-out beats during self-imposed down-time for music making amidst my record label\/family balance lifestyle. It was then that I had set a goal to produce \u0026amp; release 40 new beats by the time I turned 40. I found an almost entirely sample-based production flow in Ableton referencing an ongoing list I kept of material to sample \u0026amp; chop as the foundation for the track, culling from the timeless All The Breaks folder for the drums, and finishing the track with a synth bass-line that I’d quickly dial-in \u0026amp; play by hand using Teebs' old M-Audio midi keyboard controller that I am somehow still borrowing and cherish. Most of these beats are under 10 stems in any given project - drastically different in comparison to my projects in the past (Outmind, In My World, Time Flying Beats et al) where stems would be consistently breaching 50+.\r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eFurthermore relating to the title, I was recently served an uncleared sample notice from a bigger label entity. It’s the first time this has happened so I suppose we’ve been lucky, and it’s honestly the first time I’ve reconsidered casually releasing this type of material - particularly on major streaming platforms. I’m not sure what lies ahead for sample-based music culture - but i'm hopeful it will be able to sustain and evolve as we attempt to emphasize the reclamation of the spaces on the internet where this music can be safely \u0026amp; responsibly shared, supported, and appreciated. \r\u003cbr\u003e\r\u003cbr\u003e\r\u003cbr\u003eDuring the last few weeks leading-up to release, artist neighbor \/ bestie Aaron Raays would come over to my backyard studio shed at night to listen to the developing material and provide me with trusted feedback notes. I have a habit of whip-testing music obsessively in my 2010 Prius driving around Los Angeles, and at the Leaving offices on the Mobius Acoustics system there. These check-ins were crucial in seeing this one through. Only 29 beats made the cut, but I had a lot of fun making these, and I’m having even more fun performing them.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003e1_CAVESHRINE (1:43)\u003c\/li\u003e\n  \u003cli\u003e2_DRAGONTEARS (1:20)\u003c\/li\u003e\n  \u003cli\u003e3_WINDFISH (1:57)\u003c\/li\u003e\n  \u003cli\u003e4_CHRONO (2:02)\u003c\/li\u003e\n  \u003cli\u003e5_HATENO (1:33)\u003c\/li\u003e\n  \u003cli\u003e6_SKYDIVE (0:59)\u003c\/li\u003e\n  \u003cli\u003e7_KOROK (1:10)\u003c\/li\u003e\n  \u003cli\u003e8_REGULATE (1:34)\u003c\/li\u003e\n  \u003cli\u003e9_WALKONMEDLEY (1:49)\u003c\/li\u003e\n  \u003cli\u003e10_STARMAN (1:10)\u003c\/li\u003e\n  \u003cli\u003e11_JONIBLUE (1:17)\u003c\/li\u003e\n  \u003cli\u003e12_DAYDREAMIN (1:32)\u003c\/li\u003e\n  \u003cli\u003e13_THEFLAME (1:05)\u003c\/li\u003e\n  \u003cli\u003e14_QUIETSTORM (1:02)\u003c\/li\u003e\n  \u003cli\u003e15_BARRYBREAK (0:39)\u003c\/li\u003e\n  \u003cli\u003e15_REUNITED (0:52)\u003c\/li\u003e\n  \u003cli\u003e17_PROUD (0:52)\u003c\/li\u003e\n  \u003cli\u003e18_DENNISANDREW (1:50)\u003c\/li\u003e\n  \u003cli\u003e19_CONNY (1:34)\u003c\/li\u003e\n  \u003cli\u003e20_BAMBOO (0:57)\u003c\/li\u003e\n  \u003cli\u003e21_YOSHIMURA (1:55)\u003c\/li\u003e\n  \u003cli\u003e22_EVENSONG (1:13)\u003c\/li\u003e\n  \u003cli\u003e23_EVENINGSTAR (1:01)\u003c\/li\u003e\n  \u003cli\u003e24_MARIMBAFUSION (0:59)\u003c\/li\u003e\n  \u003cli\u003e25_BIGISLANDFLUTE (1:58)\u003c\/li\u003e\n  \u003cli\u003e26_REFLECTIONS_W\/CARLOS NIÑO (1:01)\u003c\/li\u003e\n  \u003cli\u003e27_ZITHERTRONICCHOPS (2:21)\u003c\/li\u003e\n  \u003cli\u003e28_ACCORDIAN (1:03)\u003c\/li\u003e\n  \u003cli\u003e29_NBS (1:07)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVisual art direction provided by painter\/illustrator\/rapper Maurice McCrimmon aka BlissArmyKnife, and mixed-media open-source artist\/musician AndrewCS. I’m eternally grateful to have the pleasure to be collaborating with and turned-on by these inspiring artists in our community daily.\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120818913595,"sku":"M-U-V","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3074523063_10.jpg?v=1775845288"},{"product_id":"spencer-zahn-statues-live-cassette","title":"Spencer Zahn - Statues Live Cassette","description":"\u003cp\u003eSpencer Zahn is a multi-instrumentalist and composer who has released several albums both as a solo artist and as a collaborator. His music is marked by openness: spacious, intriguing sonic spaces, rich with contributions from his creative community. \u003cbr\u003e\u003cbr\u003eIn November 2023, Zahn released Statues - the album compositions were written during a six month period of solitary focus - however after moving to Los Angeles in early 2023, Zahn started to work with a group of new musicians that make up some of the most exciting players in LA. His new west coast quartet consists of Nicole McCabe, Vancil Cooper, and Zach Tenorio. \u003cbr\u003e\u003cbr\u003eOn Zahn’s latest offering *Statues Live* the west coast quartet performed two live concerts both recorded to make up the tracklisting for his new album. Though the compositions are the same as the studio album Statues, the sound and performance is unique to this new live album leaning heavily on the perspective of the quartet and their collective improvisations. Side A was recorded live, outdoors at the Leaving Records concert series. Side B was recorded live, indoors at Altamira Sound in front of a studio audience.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChanges in Three Parts (Live at Leaving Records) (6:14)\u003c\/li\u003e\n\u003cli\u003eLawns (Live at Leaving Records) (6:26)\u003c\/li\u003e\n\u003cli\u003eHigh Touch (Live at Leaving Records) (5:55)\u003c\/li\u003e\n\u003cli\u003eCurious Frame (Live at Leaving Records) (8:38)\u003c\/li\u003e\n\u003cli\u003eWind Unsung (Live at Leaving Records) (3:58)\u003c\/li\u003e\n\u003cli\u003eShort Drive Home (Live at Altamira Sound) (4:36)\u003c\/li\u003e\n\u003cli\u003eOST (Live at Altamira Sound) (7:36)\u003c\/li\u003e\n\u003cli\u003eLawns (Live at Altamira Sound) (10:47)\u003c\/li\u003e\n\u003cli\u003eWave (Live at Altamira Sound) (3:31)\u003c\/li\u003e\n\u003cli\u003eCurious Frame (Live at Altamira Sound) (7:56)\u003c\/li\u003e\n\u003cli\u003eSnow Fields (Live at Altamira Sound) (1:35)\u003c\/li\u003e\n\u003cli\u003eWind Unsung (Live at Altamira Sound) (5:32)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A \u003cbr\u003eRecorded by Adrian Garcia \u003cbr\u003eMixed by Spencer Zahn \u003cbr\u003eRecorded live at Leaving Records on October 14, 2023 \u003cbr\u003e\u003cbr\u003eSide B \u003cbr\u003eRecorded by Rob Shelton and James Riotto \u003cbr\u003eMixed by Spencer Zahn \u003cbr\u003eRecorded live at Altamira Sound on November 19, 2023 \u003cbr\u003e\u003cbr\u003eMastered by Matthewdavid McQueen \u003cbr\u003eArtwork \u0026amp; Layout by Radha Vishnubhotla \u003cbr\u003e\u003cbr\u003ePersonnel: \u003cbr\u003eVancil Cooper, drums \u003cbr\u003eNicole McCabe, alto saxophone \u003cbr\u003eZach Tenorio, electric piano \u003cbr\u003eSpencer Zahn, fretless bass \u0026amp; piano\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e*edition of 200 cassettes\u003c\/li\u003e\n\u003cli\u003e*art direction from Radha Vishnubhotla\u003c\/li\u003e\n\u003cli\u003e*total runtime 1hr 13min\u003c\/li\u003e\n\u003cli\u003e*side A Live at Leaving Records\u003c\/li\u003e\n\u003cli\u003e*side B Live at Altamira Sound\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120819798331,"sku":"SZ-SL-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2504580480_10.jpg?v=1788217574"},{"product_id":"toso-toso-toso-toso-lp-1","title":"toso toso - toso toso LP","description":"\u003cp\u003eNew York-based collective toso toso announces their self-titled debut, out November 7th, 2025 via Leaving Records. The album delivers an exploratory vision of avant-pop, where free improvisation meets intricate form. Tender and furious, the band navigates extremes of emotion and dynamics—playful and raw—crafting vivid contrasts and surprising turns that emerge seemingly out of nowhere. It’s a bold sketch of sound, where texture becomes narrative and experimentation feels instinctive.\r\u003cbr\u003e\r\u003cbr\u003eFormed in 2020, toso toso is made up of producer, drummer, and sound designer Kabir Adhiya-Kumar; synth and keyboardist Rahul Carlberg; producer and guitarist Celia Hill; and interdisciplinary artist Isabel Crespo Pardo, the group’s vocalist and wordsmith. Each member brings a background in improvisation, a foundation that shapes their collaborative compositional process. Songs often begin as a single idea from one member, which is then looped, sculpted, and stretched collectively into unexpected forms. These fragments are transformed and sometimes mangled beyond recognition as they pass through the group’s shared sensibility, yielding music that is at once fractured and fluid.\r\u003cbr\u003e\r\u003cbr\u003eThe genre-agnostic sound of toso toso emerges from deep collaboration and a rare kind of creative trust—one rooted in friendship. Drawing from an eclectic palette, the group delights in creating new forms through juxtapositions: punchy synths colliding with existential lyrics, blastbeat drums arising beneath washes of reverb or snap into terse, angular textures. The songs on toso toso walk a tightrope between stillness and cataclysm, balancing emotional intimacy with sonic extremity.\r\u003cbr\u003e\r\u003cbr\u003eAnchored by striking lyrics and soaring choruses, the lead single, “lluvia de meteoritos” evokes a meteor shower—grand, luminous, and celestial. Combining reverberant string samples, a slanted drumbeat, and chords suspended in space, the track is led by isa’s unrelenting vocals. “lluvia de meteoritos” creates its own atmosphere: immersive and immense. As isa sings, “y me encandila \/ quedo tan cansado \/ qué hacer con el pasado \/ caigo como lluvia de meteoritos en la madrugada,” the line between personal memory and planetary event dissolves. The emotional terrain is rendered vast—world-sized song craft.\r\u003cbr\u003e\r\u003cbr\u003eThe album’s second single, “corre que corre,” makes clear the role that unending transformation plays in the band’s ethos: “en la nube, la lluvia sigue su camino \/ y lo que cobra vida no se detiene y sigue su camino” (“in the cloud, the rain follows its path \/ and what comes to life doesn’t stop—it follows its path”). The track is explosive and unrelenting, turning itself inside out as it unfolds. With aggressive energy, extended form, and a sense of sheer sonic vastness, its 8-minute trajectory embodies change as both a musical and existential force. Over the course of seven songs, an abstract yet vividly figurative album takes shape. This striking debut is luminous and pointed, introducing a distinctly new territory of music making. 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The rendition concept was initially conceived and performed by the two musicians for the Nov 3rd 2024 edition of Leaving Records' seminal outdoor community concert series Listen to Music Outside in the Daylight Under a Tree in Los Angeles California. \u003cbr\u003e\u003cbr\u003eNailah Hunter writes: \"It was such a blissful experience getting to play in the golden light of the park that afternoon with Alia. We’d been exploring this piece together for a few years prior to the performance. The uniquely curious and misty quality of the piece is what initially drew me in and the bold and imaginative changes voiced in the harp part are what kept me coming back for more. It felt euphoric to finally get to share our sonic vision with folks we knew already appreciated the original work.\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Pavilion Of Dreams (13:52)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e*Grey\/Smokey shell, white padprint ink\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Full-color JCard front \u0026amp; inside photo w.credits\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Progam plays in-full on both sides\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Design by Jordan Rundle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Photos by Hop\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120821010747,"sku":"NH-TPOD-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1761371572_10_ccd42fa4-e01b-4b97-b8fc-e3ebf0d51af4.jpg?v=1788290744"},{"product_id":"eve-matin-transmutancia-cassette","title":"Eve Matin - TRANSMUTANCIA Cassette","description":"\u003cp\u003eTRANSMUTANCIA presents music caught in the act of becoming. \r\u003cbr\u003eRaw, luminous, and alive.\r\u003cbr\u003e\r\u003cbr\u003eBorn from a one hour improvisation at Morphine Raum in Berlin, this site specific performance rattles through concepts of creation. What might it feel like, sound like, to birth a new world? Eve Matin’s debut EP gestures toward beginnings, towards the moment when sound takes root and something unnamed takes its first steps into the world. It plays as the melding of raw material, the weaving of dreams, the cracking and contorting realities. How many elements must find their way together before grace is created? Not every convergence is beautiful, not every sound is so kind. Each piece moves like a ritual, where practice slips into play and the air itself begins to reverberate. What remains is not a finished form but a resonance; ringing out like the first thing you hear when the dawn breaks, and the last sounds to linger when the room goes dark.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eAzam and Eve (3:42)\u003c\/li\u003e\n  \u003cli\u003eWhisper for Fatimih (7:15)\u003c\/li\u003e\n  \u003cli\u003eThe day that shall not be followed by night (4:36)\u003c\/li\u003e\n  \u003cli\u003eChiqchipa (Live in Morphine Raum Studio) (8:58)\u003c\/li\u003e\n  \u003cli\u003ePilgrimage (Live in Morphine Raum Studio) (6:49)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComposed and Performed by Eve Matin\r\u003cbr\u003eRecorded and Mixed by Rabih Beaini\r\u003cbr\u003eLive Sound Design by Alex Rapp\r\u003cbr\u003eMastered by Matthew David\r\u003cbr\u003e\r\u003cbr\u003eThe album was recorded at Morphine Raum during a concert curated and organized by Radical Sounds Latin America\r\u003cbr\u003e\r\u003cbr\u003eArt Collaborators: \r\u003cbr\u003eKyla Rain (Narrative)\r\u003cbr\u003eMuoi (Creative Direction-album Visuals)\r\u003cbr\u003eShirin Towfiq (Art Direction)\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120821141819,"sku":"EM-T-CS","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a436608569_1x1_700.avif?v=1788296868"},{"product_id":"sam-wilkes-craig-weinrib-and-dylan-day-sam-wilkes-craig-weinrib-and-dylan-day-cassette-3","title":"Sam Wilkes, Craig Weinrib, and Dylan Day - Sam Wilkes, Craig Weinrib, and Dylan Day Cassette","description":"\u003cp\u003eMost of this recording was made during a single early evening in Southern California, outdoors, with the San Bernardino Mountains in view. \u003cbr\u003e\u003cbr\u003eSam Wilkes played bass guitar, Craig Weinrib played trap drums, and Dylan Day played electric guitar. \u003cbr\u003e\u003cbr\u003eEight months after that dusk recording session, the trio reconvened to capture a few more pieces. Wilkes wanted to hear Dylan play a Jobim melody (How Insensitive), Dylan wanted to hear Craig play a funeral march (When I Can Read My Titles Clear), and Craig wanted to play nice and gentle. \u003cbr\u003e\u003cbr\u003eThe resulting record, a document of an initial and seemingly fated musical encounter, conveys the ease and the intensity of the trio’s chemistry. Their shared sonic affinities, while essential to the record’s sound, feel secondary to the integrity, confidence, and mutual regard that suffuse each note and every beat. \u003cbr\u003e\u003cbr\u003eAtop standards, folk songs, and hymns, Wilkes, Weinrib, and Day unfurl a series of cascading improvisations. Joyful and precise music. \u003cbr\u003e\u003cbr\u003eSam Wilkes is from Westport, Connecticut and lives in Los Angeles, California. Craig Weinrib is from New York and lives in New York. Dylan Day is from Fletcher, Vermont and lives in Los Angeles, California.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStanding In The Doorway (5:41)\u003c\/li\u003e\n\u003cli\u003eToo Young To Go Steady (4:29)\u003c\/li\u003e\n\u003cli\u003eHow Insensitive (3:51)\u003c\/li\u003e\n\u003cli\u003eRain (7:45)\u003c\/li\u003e\n\u003cli\u003eSnow (2:09)\u003c\/li\u003e\n\u003cli\u003eWhen I Can Read My Titles Clear (3:39)\u003c\/li\u003e\n\u003cli\u003eI'll Find A Way (To Carry It All) (4:17)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e*second edition limited to 100 units\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*album repeats in-full on both sides\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*clear shell, black liner\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*illustration by Claire Hungerford\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*this record sounds incredible on tape\u003c\/span\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120822681915,"sku":"SCD-SCD-CS","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1374760705_10.jpg?v=1788287080"},{"product_id":"matthewdavid-mycelium-music-lp-2","title":"Matthewdavid - Mycelium Music 2xLP","description":"\u003cp\u003eThe Mycelium is a vast, subterranean fungal network, through which plant-life, and, by extension, all living beings communicate. Individual mycelia are purported to be the largest organic entities on the planet. However, these networks simultaneously distort and disrupt our pre-existing understanding of individual, discrete organisms. Rather, the mycelium has emerged as empirical proof of longstanding “cliches” about nature and being: namely, that all life is interconnected; that we, as human animals, are porous — indebted to the very earth we tread. \r\u003cbr\u003e\r\u003cbr\u003e\u2028Having emerged as a luminary of the Los Angeles Beat Scene, MatthewDavid immersed himself for several years in the rich, neglected, and all-too-often-derided archive of New Age sound\/culture, stewarding a kind of New New Age sensibility into being. Mycelium Music constitutes a synthesis of these aesthetics, an alchemical marriage of sorts, in which the digital and the organic, the earthen and the aethereal, the bloom and the rot all collide and coexist. \r\u003cbr\u003e\r\u003cbr\u003e\u2028How might the Mycelium sing? Where other sound artists might be tempted to capture the phenomena, reaching for a field recorder, MatthewDavid responds with a succinct, impressionistic, and diaristic suite of “songs” (although, as with the mycelium itself, one cannot easily distinguish where one song\/organism ends and another begins). \r\u003cbr\u003e\r\u003cbr\u003e\u2028Norns, Mycelium Music’s opening track, is named, appropriately, after the script-based, open-source instrument with which much of the record was composed. Allowing for both improvisation and accident, the Norns (whose online DIY community MatthewDavid has long supported) has here been utilized to produce generative music in multiple senses: autosynthetic, yes, but also, music that sounds like cyclical generation and decay. Sonically rendered, Mycelium Music conjures a familiar form of the uncanny, not dissimilar to time-lapse photography — a single toadstool stalk bursts from the ground, blooms, then swiftly dies away. \r\u003cbr\u003e\r\u003cbr\u003e\u2028And of course it is beautifully textural. And of course there are moments and hits here to thrill the old heads. But what really does strike one, on first listen, is that the record is a product of serious contemplation on the meaning, the problems, and the promises of interdependence. Having started a family, having lost biological and chosen parents, having struggled with aging and embodiment, having launched a record label and cultivated (against all the usual odds and incentives) an enriching and expanding community of musicians, artists, and enthusiasts, MatthewDavid’s fingernails are pretty damn caked with the soil of life. Sifting through these experiences, Mycelium Music is a humble offering that eschews the ego of the DJ\/Producer myth. It is a record predicated upon careful attention. And, to paraphrase Simone Weil, attention is a form of prayer. \r\u003cbr\u003e\r\u003cbr\u003e\u2028-Emmett Shoemaker, May 7th 2022 3:08pm\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eNorns (5:14)\u003c\/li\u003e\n  \u003cli\u003eLiquidity (5:19)\u003c\/li\u003e\n  \u003cli\u003ePerpetuity (4:52)\u003c\/li\u003e\n  \u003cli\u003ePhased Moon (2:53)\u003c\/li\u003e\n  \u003cli\u003eZithertronica (3:05)\u003c\/li\u003e\n  \u003cli\u003eGrain (6:04)\u003c\/li\u003e\n  \u003cli\u003eX (4:47)\u003c\/li\u003e\n  \u003cli\u003eSpills (5:03)\u003c\/li\u003e\n  \u003cli\u003eZithercelium (4:56)\u003c\/li\u003e\n  \u003cli\u003eMLR (4:18)\u003c\/li\u003e\n  \u003cli\u003eZithertronix (5:14)\u003c\/li\u003e\n  \u003cli\u003eHarvest (4:16)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAll Music Composed, Recorded, Mixed, \u0026amp; Mastered by MatthewDavid alongside Brin using Norns in my backyard (Liquidity), Nailah Hunter playing Harp in the park (Perpetuity), EMV playing Korg MS2000 at home (Phased Moon, Harvest), and John Randono providing his Cenote Field Recording from Mexico (Zithercelium). Art Direction by Sam Klickner. Bio by Emmett Shoemaker. This music is dedicated to Love.\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120823730491,"sku":"M-MM-2BV","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1087988554_1x1_700.avif?v=1788304039"},{"product_id":"fabiano-do-nascimento-cavejaz-lp-1","title":"Fabiano do Nascimento - Cavejaz LP","description":"\u003cp\u003eRio de Janeiro guitarist and composer Fabiano do Nascimento returns with new album Cavejaz.\r\u003cbr\u003e\r\u003cbr\u003eCavejaz is a project that stemmed from a hang with renowned Minas Gerais singer\/songwriter Jennifer Souza, who suggested that do Nascimento record music with a new connection: the musician Paulo Santos, best known as a member of landmark Brazilian group UAKTI. Collaborators of Paul Simon, Philip Glass, Milton Nascimento, Stewart Copeland, among others, UAKTI became known for crafting their instruments by hand, using all kinds of recycled materials such as pvc pipes, glass, water, sponges, and more. Their artistic manifesto centres around creating minimal music, even as an ensemble.\r\u003cbr\u003e\r\u003cbr\u003eIn August 2024, do Nascimento and Paulo Santos began recording at Studio Ilha do Corvo in Belo Horizonte with producer Leo Marques. At the time, Brazil was suffering one of the biggest and widest spread wildfires the country had ever seen, smoke spreading all across South America and causing devastating effects especially in Belo Horizonte. It represented an uncomfortable time for Brazil, provoking widespread discomfort and anxiety, as well as forcing do Nascimento and Santos indoors at the studio and cutting their recording period down to a spare few sessions. \"But\", writes do Nascimento, \"we managed to have a good time still, and to enjoy recording the open and free ideas that would come up. Leo would just hit record, and we would just play.\"\r\u003cbr\u003eThe second part of Cavejaz was recorded in Japan with veteran Japanese musician U-zhaan. The pair performed in concert in a beautiful noh-gaku-doh theater in Tokyo, which was recorded live, with Fabiano ultimately completing the Japan sessions solo at the SALO studio in Oiso.\r\u003cbr\u003e\r\u003cbr\u003e\"So the project became a selection of what I recorded in Minas Gerais in studio with Paulo and Jennifer in August 2024, and the rest live in Japan, with one exception being live recording from a concert I performed in Los Angeles with my longtime bandmate, the percussionist Ricardo \"Tiki\" Pasillas (Salvador). The material made sense together.\"\r\u003cbr\u003e\r\u003cbr\u003eDespite these disparate backgrounds, Cavejaz is made cohesive by its organic performance and minimalist instrumentation. It is crafted from guitar and handmade percussion, elevated further still by U-zhaan's intuitive additions for the tabla and Tiki's handmade, hybrid percussion set.\r\u003cbr\u003e\r\u003cbr\u003e\"The title came from the overall feel of the music and was recommended by my friend Sam Gendel,\" says do Nascimento. \"Kind of sounds like music coming from a cave with water and organic elements.\"\r\u003cbr\u003e\r\u003cbr\u003eFabiano do Nascimento is a Brazilian-American guitarist, composer, producer and arranger, currently based in Los Angeles and Tokyo. He performs on various multi-string and multi-tuning (nylon string) guitars. 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I was hyped \u003cbr\u003ethe more I took in this 6 song offering. I thought to ask \u003cbr\u003eSam about his new record and use his answers as aid \u003cbr\u003eto illustrate some of my feelings, but when I read his \u003cbr\u003ereply I thought you should too. It's so descriptive \u003cbr\u003eand visual, perfect to pull from and quote. \u003cbr\u003e................................. \u003cbr\u003e\u003cbr\u003eWhat does your last name Wilkes mean? \u003cbr\u003e\u003cbr\u003eI actually just found that It means Wolf in Lithuanian. \u003cbr\u003e\u003cbr\u003eWhat does your last name Wilkes mean to you? \u003cbr\u003e\u003cbr\u003eIt's vast. It provokes a different sentiment in me in different situations. \u003cbr\u003eI.e my dad's side of the family is one, while my immediate family is another, and within my musical community in Los Angeles and elsewhere it's also another. The latter is the sentiment I'm really coming from on this record. Myself within the context of my beautiful community. This record does not exist without that community. \u003cbr\u003eMy friend and collaborator, Sam Gendel calls me Wilkes and our friendship and musical relationship began to take a new form when I started to record him playing these songs of mine. Sam and my other dearest friends beginning to call me \"Wilkes\" (especially with humor) more and more coincided with a new era for me, which was the start of this record\/chapter. \u003cbr\u003e~ \u003cbr\u003e\u003cbr\u003eWhat does your new record WILKES mean to you? \u003cbr\u003e\u003cbr\u003eIt is the first part of a two part chapter. \u003cbr\u003eIt's the product of realizing that I HAD to make my own art, instead of just working with\/for other projects (as I had done up until this point). Upon jumping into that pool and then swimming on my own for the first time, I realized that I could compose and produce the music that I want to hear; which I got VERY excited about. I have a pretty belligerent need to create and once I began, working on my own music became a daily necessity for fulfillment and to deal with what I was going through at the time. \u003cbr\u003eI expressed this through composition, production, sonics, and creating and curating an environment for Sam Gendel's, Brian Green's, Louis Cole's, and Christian Euman's genius to be heard and featured (i.e featuring personal cornerstones of that community I was talking about.) \u003cbr\u003ethis, rather than, say, making music for the sake of making a \"bass record\", was the outlet I needed; it wasn't really an option, this was just the vehicle for my observations, experience, philosophy, love . . . \u003cbr\u003eIt's a snapshot, one that I worked so hard on, of who and where I was from 2015-2017. \u003cbr\u003e~ \u003cbr\u003e\u003cbr\u003eDo you have visions about how this record may affect people? \u003cbr\u003e\u003cbr\u003eI can't really articulate it. \u003cbr\u003eBut: \u003cbr\u003eI think Sam Gendel is the greatest saxophone player alive. \u003cbr\u003eI hope it makes some people feel that way too. This music was made to be played by him. \u003cbr\u003e~ \u003cbr\u003e\u003cbr\u003eWhat were your biggest inspirations while making this record? \u003cbr\u003e\u003cbr\u003eJohn Coltrane \u003cbr\u003ePharaoh Sanders \u003cbr\u003eMiles Davis \u003cbr\u003eJoe Zawinul \u003cbr\u003eSam Gendel \u003cbr\u003eLouis Cole \u003cbr\u003eDaniel Lanois \u003cbr\u003eMilton Nascimento \u003cbr\u003eRahsaan Roland Kirk \u003cbr\u003eQuincy Jones \u003cbr\u003eBrian Eno \u003cbr\u003eJames \"J Dilla\" Yancey \u003cbr\u003ePete Rock \u003cbr\u003eRudy Van Gelder \u003cbr\u003eJoseph Campbell \u003cbr\u003eGenevieve Artadi \u003cbr\u003eAlice Coltrane \u003cbr\u003eChanting \u003cbr\u003e~ \u003cbr\u003e\u003cbr\u003eWhat are your biggest general inspirations? \u003cbr\u003e\u003cbr\u003eThis is infinite but, a short list: \u003cbr\u003eMy parents \u003cbr\u003eMy whole family \u003cbr\u003eHerman Hesse \u003cbr\u003ePatrice Rushen \u003cbr\u003eNdugu Chancler \u003cbr\u003eAlphonso Johnson \u003cbr\u003eJohn Daversa \u003cbr\u003eMichael Jordan \u003cbr\u003eDaniel Lanois \u003cbr\u003eQuincy Jones \u003cbr\u003eRay Brown \u003cbr\u003eStefan Sagmeister \u003cbr\u003eSam Gendel \u003cbr\u003eLouis Cole \u003cbr\u003eBrian Green \u003cbr\u003eMythology \u003cbr\u003eJackson Pollack \u003cbr\u003eErnst Barlach \u003cbr\u003eWilliam Shakespeare \u003cbr\u003eRainer Maria Rilke \u003cbr\u003e\u003cbr\u003eand From my childhood - \u003cbr\u003ePhish \u003cbr\u003eThe Grateful Dead \u003cbr\u003e~ \u003cbr\u003e\u003cbr\u003eHow would you describe the sound of your Bass, \u003cbr\u003ewhat do you see \/ envision when you're playing? \u003cbr\u003e\u003cbr\u003eI would describe the sound of my bass as: Sam Wilkes. \u003cbr\u003eFor seeing and envisioning, It depends on the feeling I'm trying to express. \u003cbr\u003eSometimes it's just colors or an image, but something I've gone back to a \u003cbr\u003ebit for whatever reason in some sessions as of late is the feeling of seeing \u003cbr\u003efireworks and having a hot dog on the fourth of July as a kid, knowing that \u003cbr\u003eI didn't have to go to school the next day because it was summer and I was free, and just being happy and excited and full of love for my family and my best friends (kind of like that scene in that movie \"The Sandlot\"), and the feeling of knowing that I could go home and play or listen to CDs in my room and dance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWelcome (2:37)\u003c\/li\u003e\n\u003cli\u003eToday (5:38)\u003c\/li\u003e\n\u003cli\u003eRun (7:04)\u003c\/li\u003e\n\u003cli\u003eTonight (4:39)\u003c\/li\u003e\n\u003cli\u003eHug (7:48)\u003c\/li\u003e\n\u003cli\u003eDescending (4:01)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120829137211,"sku":"LR137-1","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3565543305_10_dc08efdb-1cfb-4aac-b491-ad3f7c3a0d23.jpg?v=1788297430"},{"product_id":"droopy-eye-embruja-cassette","title":"droopy eye - Embruja Cassette","description":"\u003cp\u003eAll Genre artist \u0026amp; beatmaker in anonymity Droopy Eye debuts the full-length album Embruja. After nearly a decade of exchanging genre-fluid demos and audio email attachments with Leaving Records founderperson Matthewdavid, Embruja surfaces as the perfect anomaly with playfully aligned experimental sonic \u0026amp; philosophical influences that include Terence McKenna x Underground UK Dance Music Culture, and The LA Beat Scene. \u003cbr\u003e-- \u003cbr\u003e\u003cbr\u003eset adrift in a haze, \u003cbr\u003e\u003cbr\u003eto each their own, \u003cbr\u003e\u003cbr\u003ewith numbered days \u003cbr\u003e\u003cbr\u003e. \u003cbr\u003e\u003cbr\u003eseeking clarity, \u003cbr\u003e\u003cbr\u003ewhile focus wanes, \u003cbr\u003e\u003cbr\u003ereaching a summit appears a true rarity \u003cbr\u003e\u003cbr\u003e. \u003cbr\u003e\u003cbr\u003ewhen the way becomes blurry \u003cbr\u003e\u003cbr\u003eobscured by thinking, and fury \u003cbr\u003e\u003cbr\u003etime and space, still connect \u003cbr\u003e\u003cbr\u003e. \u003cbr\u003e\u003cbr\u003ewhen things begin to feel pointless \u003cbr\u003e\u003cbr\u003ethe sun, \u003cbr\u003e\u003cbr\u003estill rises, and sets \u003cbr\u003e\u003cbr\u003e. \u003cbr\u003e\u003cbr\u003eif you do find the self, \u003cbr\u003e\u003cbr\u003estay in tune \u003cbr\u003e\u003cbr\u003elest we forget \u003cbr\u003e\u003cbr\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEmbruja 0 (1:44)\u003c\/li\u003e\n\u003cli\u003eTerry Jam (1:00)\u003c\/li\u003e\n\u003cli\u003eEmbruja 1 (2:54)\u003c\/li\u003e\n\u003cli\u003eFffphphph (2:08)\u003c\/li\u003e\n\u003cli\u003eTugged In (1:28)\u003c\/li\u003e\n\u003cli\u003ePuddlez (2:38)\u003c\/li\u003e\n\u003cli\u003eHand Maiden Gloom (1:40)\u003c\/li\u003e\n\u003cli\u003eEmbruja 2 (2:19)\u003c\/li\u003e\n\u003cli\u003eFoam Region (2:03)\u003c\/li\u003e\n\u003cli\u003eHazetrill (2:49)\u003c\/li\u003e\n\u003cli\u003eCumbia Riddim (1:52)\u003c\/li\u003e\n\u003cli\u003eThursnacht (3:18)\u003c\/li\u003e\n\u003cli\u003eEmbruja 3 (2:17)\u003c\/li\u003e\n\u003cli\u003ePainfell (2:49)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eall music, and artwork by Droopy Eye\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003e*limited edition of 150 cassettes\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*light pink cassette shell\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*pro duplicated in Los Angeles\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*packaged in Norelco case w\/4-panel JCard designed by Droopy Eye.\u003c\/span\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120830087483,"sku":"DE-E-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2268812412_10.jpg?v=1775845296"},{"product_id":"francesca-heart-bird-bath-cassette","title":"Francesca Heart - Bird Bath Cassette","description":"\u003cp\u003eAfter two years since second effort Eurybia, Francesca Heart returns to Leaving Records with a new seven-tracks album detailing the progress in her personal musical lore. Bird Bath expands on the musician’s childlike cosmic approach, crafting new tales where feelings and symbols of unearthly love and possibility, inner protection and desire become the album’s pillars. \u003cbr\u003e\u003cbr\u003eAn iteration of the artist’s interest in mediterranean mythology and the evolution of sacred icons, Bird Bath begins with the figure of the angel as depicted by early renaissance Italian painter Beato Angelico, visible at Monastero of San Marco in Florence. 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In Rose Petal Place fantasy-tales meet video game sounds with a repetitive, samba-like rhythm that could recall a secret spring party. Caryatids evokes marine ambiences and insular melodies and was inspired by the island of Ponza. 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It's the unpleasantness of the system that keeps me out. I'd rather be in, in a good system. That's where my discontent comes from: being forced to choose to stay outside. My advice: Just keep movin' straight ahead. Every now and then you find yourself in a different place.\" \u003cbr\u003e\u003cbr\u003e- Moments before going on stage SG asked if the train announcer would read this at any point during his set over the intercom system, and somehow they agreed. 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Benny Bock is a keyboardist, composer, producer and sound designer from Oakland, California. 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Do Nascimento and his band set out to perform a curated selection of original music and other favorites from cherished composers. \r\u003cbr\u003e\r\u003cbr\u003eBehold Solstice Concert - the raw recording of what went down that evening - straight from the board, solstice vibes glistening, full band synchronized, audience stoked. Although unintended to be a full-length album release subsequent to the performance, the tape was indeed rolling however unknown to the band on stage and those in attendance.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eDas Nuvens (2:46)\u003c\/li\u003e\n  \u003cli\u003eNene's Song (4:19)\u003c\/li\u003e\n  \u003cli\u003eAurora (5:12)\u003c\/li\u003e\n  \u003cli\u003eTrain to Imagination (4:30)\u003c\/li\u003e\n  \u003cli\u003eValsa (5:48)\u003c\/li\u003e\n  \u003cli\u003eIlza na Feijoada (5:13)\u003c\/li\u003e\n  \u003cli\u003eHaru (1:22)\u003c\/li\u003e\n  \u003cli\u003eFloresta dos Sonhos (4:03)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFabiano do Nascimento - 7-string guitar, soprano guitar, and electronics.\r\u003cbr\u003eSam Gendel - soprano saxophone and MIDI saxophone.\r\u003cbr\u003eGabe Noel - the electric bass. \r\u003cbr\u003eTamir Barzilay - drums, percussion, and electronic drums.\r\u003cbr\u003e\r\u003cbr\u003eArt direction Sam Gendel\r\u003cbr\u003eMastering Matthewdavid\r\u003cbr\u003eAll Songs Fabiano do Nascimento except \"Ilza na Feijoada\" by Hermeto Pascoal and \"Nene's song\" which the main melody is from \"Alexandre, Marcelo e Pablo\" by Nenê.\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120834117947,"sku":"FDN-SC-FDNS","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2520431440_1x1_700_8fcfda7c-ed95-47b1-b748-59e6922f1970.avif?v=1788301338"},{"product_id":"fabiano-do-nascimento-solstice-concert-lp-2","title":"Fabiano do Nascimento - Solstice Concert CASSETTE","description":"\u003cp\u003eOn Wednesday June 21, 2023 LA-via-Rio composer Fabiano do Nascimento had organized - with Leaving Records and an ensemble of contemporaries in the local scene - a one-night-only seated concert at a historic venue in Northeast Los Angeles. Do Nascimento and his band set out to perform a curated selection of original music and other favorites from cherished composers. \r\u003cbr\u003e\r\u003cbr\u003eBehold Solstice Concert - the raw recording of what went down that evening - straight from the board, solstice vibes glistening, full band synchronized, audience stoked. Although unintended to be a full-length album release subsequent to the performance, the tape was indeed rolling however unknown to the band on stage and those in attendance.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eDas Nuvens (2:46)\u003c\/li\u003e\n  \u003cli\u003eNene's Song (4:19)\u003c\/li\u003e\n  \u003cli\u003eAurora (5:12)\u003c\/li\u003e\n  \u003cli\u003eTrain to Imagination (4:30)\u003c\/li\u003e\n  \u003cli\u003eValsa (5:48)\u003c\/li\u003e\n  \u003cli\u003eIlza na Feijoada (5:13)\u003c\/li\u003e\n  \u003cli\u003eHaru (1:22)\u003c\/li\u003e\n  \u003cli\u003eFloresta dos Sonhos (4:03)\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFabiano do Nascimento - 7-string guitar, soprano guitar, and electronics.\r\u003cbr\u003eSam Gendel - soprano saxophone and MIDI saxophone.\r\u003cbr\u003eGabe Noel - the electric bass. \r\u003cbr\u003eTamir Barzilay - drums, percussion, and electronic drums.\r\u003cbr\u003e\r\u003cbr\u003eArt direction Sam Gendel\r\u003cbr\u003eMastering Matthewdavid\r\u003cbr\u003eAll Songs Fabiano do Nascimento except \"Ilza na Feijoada\" by Hermeto Pascoal and \"Nene's song\" which the main melody is from \"Alexandre, Marcelo e Pablo\" by Nenê.\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120835068219,"sku":"FDN-SC-LEC","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2520431440_1x1_700.avif?v=1788301270"},{"product_id":"andrew-cs-caught-in-pointers-lp-2","title":"andrew cs - caught in pointers CASSETTE","description":"\u003cp\u003eandrew cs is a many media artist \u0026amp; creative programmer from the american midwest. exploring recursive time loops through their own digital memories, andrew’s sound blends captured spaces with bending synthesized loops improvised on custom software. following a half-chance encounter with a field recorder as a teen, andrew began cataloging moments of temporary calm - archiving disk drives of present textures in conversation with a future self. following 2021’s “*” EP, their debut album, “caught in pointers”, strings together a non-linear coming-of-age story from 6 years of altered field recordings. collaging data found between the rural landscapes of their youth \u0026amp; the oscillations of chicago as an adult, andrew imagines their own past as a four-dimensional space to navigate freely with digital media.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003ebreeze3 (0:32)\u003c\/li\u003e\n  \u003cli\u003ejan_2014 (3:53)\u003c\/li\u003e\n  \u003cli\u003eletters from ama (1:35)\u003c\/li\u003e\n  \u003cli\u003eleft (0:08)\u003c\/li\u003e\n  \u003cli\u003efinger toes (1:43)\u003c\/li\u003e\n  \u003cli\u003edead leaves \/ morgan brown (4:28)\u003c\/li\u003e\n  \u003cli\u003e* (0:57)\u003c\/li\u003e\n  \u003cli\u003ewakeup (0:13)\u003c\/li\u003e\n  \u003cli\u003eamy's apartment (0:47)\u003c\/li\u003e\n  \u003cli\u003etime is bendy (1:12)\u003c\/li\u003e\n  \u003cli\u003ewhite plastic bag drifting up into the air (5:15)\u003c\/li\u003e\n  \u003cli\u003e[ ] (0:26)\u003c\/li\u003e\n  \u003cli\u003efallen log bridge island (0:48)\u003c\/li\u003e\n  \u003cli\u003etalking to moths (0:59)\u003c\/li\u003e\n  \u003cli\u003ebackyard feeling (2:06)\u003c\/li\u003e\n  \u003cli\u003eneeding 2 slow down (2:12)\u003c\/li\u003e\n  \u003cli\u003eorange traffic safety barrier (2:57)\u003c\/li\u003e\n  \u003cli\u003et (0:16)\u003c\/li\u003e\n  \u003cli\u003ewindfence (1:44)\u003c\/li\u003e\n  \u003cli\u003ewe grow! 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