{"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":"fabiano-do-nascimento-das-nuvens-lp","title":"Fabiano do Nascimento - Das Nuvens LP","description":"\u003cp\u003eLos Angeles-based Fabiano Do Nascimento is a multi-string guitarist and songwriter who melds the traditional idioms of his native Brazil (i.e., samba, choro) with the more contemporary and experimental strains of jazz, pop, and electronic music. Das Nuvens (“The Clouds”), out July 21, 2023 on Leaving Records, is a crisp, frequently blissful, and deceptively groove-oriented showcase from a consummate musician — a rich and varied collection of songs, all of which seem to prioritize, and thrive in, the soft and intentional spaces between notes. \u003cbr\u003e\u003cbr\u003eRaised in Rio and São Paulo before eventually relocating to Southern California as a teenager, Nascimento’s approach to guitar and songcraft is informed by an adolescence enmeshed in Brazil’s exceptionally fertile musical environs. His induction into this lineage was organic. With the encouragement and attention of a musical family, a young Nascimento learned to read music, play the piano, and dabbled with the flute before picking up guitar at age 10. His affinity for the guitar was immediate, decisive, and clear. The instrument further catalyzed his decades-long journey into the annals of Brazilian classical music. \u003cbr\u003e\u003cbr\u003eDas Nuvens constitutes the free-form, exploratory work of a musician who, having mastered a distinct musical language, seeks to apply his skill towards broader, more experimental modes of expression. Fittingly, track one — built around a contemplative, pointillistic refrain— is titled “Babel,” a reference to the legend of man’s attempt to build a tower to heaven, and how God thwarted this alleged act of hubris by shattering man’s shared language, sowing chaos and confusion. Though a stern parable on its face, it is a myth that enshrines our world’s dizzying array of languages (of modes of being), and the subsequent beauty of cultural exchange through art. In this regard, it is a fitting opening statement for an album that collapses and collages not only contemporary and classical Brazilian and pop idioms, but also the diverse range of indigenous music that Nascimento has encountered and studied in his travels as a touring musician. \u003cbr\u003e\u003cbr\u003eRecorded in Nascimento’s home studio with his longtime friend and collaborator, Daniel Santiago (who also designed the album’s art), Das Nuvens evokes windswept vistas (the plaintive “Thrdwrld” lands like Morricone gently flirting with trap), and the lush Latin American forests of Nascimento’s youth (“Aurora” in particular), while simultaneously foregrounding music’s ineffable and universally-felt capacity to sooth and inspire.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBabel (4:01)\u003c\/li\u003e\n\u003cli\u003eThrdwrld (4:06)\u003c\/li\u003e\n\u003cli\u003eTrain to Imagination (2:53)\u003c\/li\u003e\n\u003cli\u003eDas Nuvens (3:09)\u003c\/li\u003e\n\u003cli\u003eYûgen (2:35)\u003c\/li\u003e\n\u003cli\u003eAurora (6:12)\u003c\/li\u003e\n\u003cli\u003eEterno (3:30)\u003c\/li\u003e\n\u003cli\u003eStranger Nights (3:04)\u003c\/li\u003e\n\u003cli\u003eBlu's Dream (2:16)\u003c\/li\u003e\n\u003cli\u003e3 Pontas (4:37)\u003c\/li\u003e\n\u003cli\u003eAmoroso (2:59)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120776446267,"sku":"FDN-DN-BV","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3876271804_10.jpg?v=1788360705"},{"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":"nico-georis-music-belongs-to-the-universe-lp-2","title":"Nico Georis - Music Belongs To The Universe LP","description":"\u003cp\u003eFor Nico Georis, music is a lot like nature: you may actively confront it, or just let yourself channel it. Music Belongs To The Universe, his latest offering, out now on Leaving Records, threads the line between pastoral melody and desert minimalism, it rings out and warbles, crafting sounds as spacious as the landscapes from which it was conjured. \u003cbr\u003e\u003cbr\u003eRecorded between 2021 and 2023, Music Belongs To The Universe is the latest foray in a search for music as crystalline as the desert skies that Georis began in 2020, when he first moved out to a remote town outside of Death Valley. Here, he restored what became his studio, Granny’s Dancehall, communing with the elements on 2023’s Cloud Suites and 2022’s Desert Mirror which, along with Music Belongs To The Universe, present as a triptych of desert meditations. \u003cbr\u003e\u003cbr\u003eMusic Belongs To The Universe, in fact, is first and foremost an exercise in sensitivity, in uncluttered perception. We hear this in the devoted, expectant warbling of “Geological Observations:” Georis’ airy arrangements tiptoe, sit back and finally hover, clearing the way for a kind of music that is more channelled than it is conceived. As keyboards soar, unburdened, above the looped-up soundscape of lead single “Who Knows The Path,” its title rings at once as a question and an invocation. \u003cbr\u003e\u003cbr\u003eNo matter how trance-like, however, nothing about this is accidental. Relying on delay techniques Georis first perfected on his 2022 reinterpretation of Terry Riley’s A Rainbow in Curved Air, melody isn’t just suffused into Music Belongs To The Universe’s ambient sounds; rather, these emanate out of long-hewn chord progressions as if in radiance. \u003cbr\u003e\u003cbr\u003eLike a gymnopédie for the desert, these recordings flutter and unfold, sunbleached; their arrangements, at once rapt and unobtrusive, attending to the massive world around. As they cast off drama to make room for attunement, they remind us that, sometimes, the most attentive kind of searching feels like letting go.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWeather Report I (1:55)\u003c\/li\u003e\n\u003cli\u003eWho Knows The Path (3:13)\u003c\/li\u003e\n\u003cli\u003eLens (2:53)\u003c\/li\u003e\n\u003cli\u003eLake-Eyes (3:39)\u003c\/li\u003e\n\u003cli\u003eGolden Pools (1:47)\u003c\/li\u003e\n\u003cli\u003eGeological Observations (4:03)\u003c\/li\u003e\n\u003cli\u003eWeather Report II (2:15)\u003c\/li\u003e\n\u003cli\u003eSodium Trees (2:36)\u003c\/li\u003e\n\u003cli\u003eRelation Ships (4:59)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120780804411,"sku":"NG-MBTTU-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2698838620_10_9bb6ebef-197e-4310-8363-b2250e6ba589.jpg?v=1788361800"},{"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-on-mushrooms-lp","title":"Matthewdavid - On Mushrooms LP","description":"\u003cp\u003eLeaving Records founderperson Matthewdavid presents the On Mushrooms EP, a primer for the Mycelium Music album to be released Q2 2023. Both works are expressed from the same ecosystem, cut from the same cloth. \u003cbr\u003e\u003cbr\u003eThe following is a listening experience testimonial written by Matt Baldwin - esteemed Californian guitarist, writer, and psychotherapist trained in psychedelic psychotherapy. \u003cbr\u003e\u003cbr\u003e— — — \u003cbr\u003e\u003cbr\u003e“When you go out for mushrooms in the hills of California there is an experience in which you wander for hours, scanning low until your eyes are fatigued and then suddenly there is a break in the chaparral and a cluster of immaculate King Boletes appears before you, posed with an almost hieratic intensity. If you pay close attention to that moment of perception, it is almost always accompanied by a telepathic whispering voice that says: \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eOh hello, we’ve been waiting for you. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDropping into the ketamine space (200 mg oral lozenge) while listening to Matthewdavid’s new music, I had a distinctly similar impression; specifically, that this music knew about me before I knew about it and that it had been waiting for very a long time to meet me - perhaps on a timescale in which a human lifetime would pass in a split second. This music had been waiting and dreaming of the opportunity to finally express its wholeness through the medium of another’s consciousness. Music is a kind of ordinary day-to-day telepathy that uses pressure waves in the air as the path to convey meaning into another person’s interior. As the waves of color-sound rippled thru me I was overwhelmed with a very clear message about deep interconnection that formulated itself in exactly these words: \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eWe spend most of our time pretending that we are not the same person. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThe overlapping circles of our communities lie before us as a radiant living mandala. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAll we ask is that you acknowledge what you have felt here and promise never to forget.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCulebra with Wilkes (feat. Sam Wilkes) (2:05)\u003c\/li\u003e\n\u003cli\u003eUnder a Tree (5:11)\u003c\/li\u003e\n\u003cli\u003eA New Ambient (2:04)\u003c\/li\u003e\n\u003cli\u003eDampener (3:00)\u003c\/li\u003e\n\u003cli\u003eToo High to Play Bear's Campout (feat. Brin) (4:00)\u003c\/li\u003e\n\u003cli\u003eOne4G (3:53)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120784507195,"sku":"669158573523","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2694821476_10_cde79ac1-1147-4c17-9bf2-8b166c1f0554.jpg?v=1788354389"},{"product_id":"nico-georis-plant-music-vol-3-the-golden-teachers-lp","title":"Nico Georis - Plant Music Vol.3 - The Golden Teachers CASSETTE","description":"\u003cp\u003eExperience the high strangeness of plant music—plants that “sing.” For years musician Nico Georis has used biofeedback instruments to \u003cbr\u003econnect a variety of flora to analog synthesizers, letting their biodata \u003cbr\u003ecreate music that is strange and existentially gorgeous. \u003cbr\u003e\u003cbr\u003eNico’s work in plant music happened during a six year span, and was \u003cbr\u003eset in motion by a simple desire to find a fresh supply of long-form \u003cbr\u003eambient music for relaxing to at home. After a chance encounter with \u003cbr\u003ean obscure technology dating back to the 70’s allowing plant \u003cbr\u003eelectricity to be converted to MIDI data, Nico began experimenting with using his house plants to generate endlessly evolving ambient music. “I was looking for music that I couldn’t find, and I realized the plants \u0026amp; I could make it.” \u003cbr\u003e\u003cbr\u003eHere was an opportunity for another type of ambient music, one not \u003cbr\u003eborn of the human brain, to emerge. A music that moves beyond \u003cbr\u003ehuman thought forms all together, and leans deeply into the green. \u003cbr\u003eCulled from hundreds of plant songs recorded between 2016 - 2022 \u003cbr\u003eboth at home and in the wild Plant Music Vol. 1 and 2 represent the \u003cbr\u003e“greatest hits” of Nico’s plant music years. \u003cbr\u003e\u003cbr\u003ePlant music Vol. 3 marks the newest installation, showcasing music \u003cbr\u003egenerated from psilocybin mushrooms, known by many as “Golden \u003cbr\u003eTeachers”. \u003cbr\u003e\u003cbr\u003e◯ \u003cbr\u003e\u003cbr\u003e\"This music is created via an artistic translation of electrical biodata into musical data. Two mushrooms and the mycelium connecting them are hooked-up to sensors, and their fluctuating electrical conductivity is translated into an equivalent flow of music notes (MIDI). These notes are then filtered into musical scales and routed into synthesizers that generate tones. \u003cbr\u003e\u003cbr\u003eThese recordings have been arranged into a variety of solos, duets and trios. They reflect what we feel are the most fascinating and beautiful examples of psilocybin mushroom music, straight from the tub.\" \u003cbr\u003e\u003cbr\u003e◄░░░░░░► \u003cbr\u003e\u003cbr\u003eNico Georis is a keyboard player, producer \u0026amp; songwriter from \u003cbr\u003eCalifornia. He produces music from his studio at Granny's Dancehall in a ghost town amidst the wilderness. 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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. 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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":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. \u003cbr\u003e\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. \u003cbr\u003e\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. \u003cbr\u003e\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. \u003cbr\u003e\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\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\u003cp\u003e \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":"more-eaze-strawberry-season-lp-1","title":"more eaze - Strawberry Season LP","description":"\u003cp\u003eStrawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eStrawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope). \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMore Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eStrawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGentle Pets (3:27)\u003c\/li\u003e\n\u003cli\u003eSuped (2:32)\u003c\/li\u003e\n\u003cli\u003eBlank Check (3:17)\u003c\/li\u003e\n\u003cli\u003eKnown (2:09)\u003c\/li\u003e\n\u003cli\u003eCold (2:38)\u003c\/li\u003e\n\u003cli\u003eYour Call (2:31)\u003c\/li\u003e\n\u003cli\u003eLow Resolutions at Santikos (9:14)\u003c\/li\u003e\n\u003cli\u003eGoodnight (1:31)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120785523003,"sku":"ME-SS-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a379772288_1x1_700.avif?v=1788882902"},{"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":"nico-georis-cloud-suites-lp-1","title":"Nico Georis - Cloud Suites LP","description":"\u003cp\u003eCalifornia’s Nico Georis has always straddled (or, rather, negotiated) multiple dimensions. As a child, Georis flitted between the rigors of classical training and DIY experimentation—studying under a disciple of Franz Lizst (a mentorship that would enshrine the piano as his primary instrument), then squirreling away to the basement of his childhood home, strewn as it was with his father’s instruments and home-audio equipment, to play and record freely. Despite his evident virtuosity as a trained pianist, Georis has, across numerous projects, stints, incarnations, and chapters, persisted in this gentle and exploratory approach to music-making. Foregoing the pursuit of technical mastery and acclaim within the confines of the contemporary classical world, he has dedicated his talents to songcraft, broadly-defined — channeling unseen (or inaugurating altogether new) worlds through melody and repetition. \u003cbr\u003e\u003cbr\u003eConceived after an isolating, five-year struggle with a severe case of Lyme disease, Cloud Suites (out June 9th on Leaving Records) documents Georis’s initial return to experimental ambient keyboard compositions. Conceptually, there is little ambiguity here: the songs—the “suites”—are clouds, or, rather, reflections of clouds, each named after a particular formation. Track titles range from the meteorologically specific to the expressive: “Cumuloids,” “Sundog,” and “Soft Yellow Gazers.” Georis composed the suites in real-time, peering out the windows of his Big Sur cabin-home\/recording studio (dubbed The Sky Shed), responding improvisationally to render specific clouds as music—in effect to pluck them from the sky. Georis has referred to this process as a kind of musical game, and, indeed, its end product conveys the recurring and joyful revelations of play. \u003cbr\u003e\u003cbr\u003eBut for a project born of levity and improvisation, Cloud Suites’ path to realization has been winding—harrowing, even. Over three years in the making, the recording process was beset by all manner of technological and environmental setbacks, ranging from broken equipment to a mudslide that tore through the Sky Shed. Nevertheless, even as other projects saw fruition (see 2022’s beautifully elegiac Desert Mirror) the Cloud Suites continued to gestate. When circumstances finally aligned, Georis entered the studio with a rag-tag collection of tape recordings. Performing over these Cloud demos, Georis would eventually weave these initial recordings into finished tracks, an analogue collage\/cut-up approach recalling his childhood basement experiments, and his long-time affinity for Dub. \u003cbr\u003e\u003cbr\u003eMorphing seamlessly across eleven tracks, Cloud Suites functions wonderfully as a record (that is to say, as a discrete release—a standalone musical artifact), but one also senses the limitlessness of the project. Having stumbled, largely by accident, upon this inviting dimension (at once bracingly psychedelic and achingly nostalgic), Georis may not wish to close the door behind him. Or maybe it isn’t his door to close.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBent Violet (5:21)\u003c\/li\u003e\n\u003cli\u003eFlight (4:51)\u003c\/li\u003e\n\u003cli\u003eCumuloids (1:09)\u003c\/li\u003e\n\u003cli\u003eThermals (6:39)\u003c\/li\u003e\n\u003cli\u003eSoft Purple Gazers (2:39)\u003c\/li\u003e\n\u003cli\u003eIce Crystals (5:28)\u003c\/li\u003e\n\u003cli\u003eSundog (4:07)\u003c\/li\u003e\n\u003cli\u003eBreeze (0:58)\u003c\/li\u003e\n\u003cli\u003eRaindrops (3:44)\u003c\/li\u003e\n\u003cli\u003eSoft Yellow Gazers (1:05)\u003c\/li\u003e\n\u003cli\u003eDaydreams (6:59)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eblack vinyl\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*8mm film stills by Nico Georis\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*pink paper inner-sleeves\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*full-color center labels\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120788078907,"sku":"NG-CS-LBV","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2831153175_10.jpg?v=1788361360"},{"product_id":"ashtrejinkins-its-trash-now-lp","title":"AshTreJinkins - IT'S TRASH NOW LP","description":"\u003cp\u003eIT’S TRASH NOW, out December 1, 2023, on Leaving Records, functions as a (mostly) wordless love letter to the music. But It’s also a screed, a manifesto, a series of abstracted diary entries, and\/or a catalog of feelings experienced in half-remembered dreams. \r\u003cbr\u003e\r\u003cbr\u003eAshTreJinkins, LA native beatmaker, producer, rapper, is full of joy and fire and a fierce allegiance to— that is, an impulse to both rep and defend— the genres and scenes in which he cut his teeth. This overflow of energy is evident throughout and across the release; including in the picture of Jinkins that is the album’s cover. He’s yanking a wild knit cap down over his eyes, mouth agape, maybe cracking up? Maybe crying out in exaggerated frustration…? At what? At all the bullshit and nonsense—the “trash” (of which, we must admit there is plenty). But this man isn’t bitter. He’s just committed. And frustration, especially when it’s paired with a decent sense of humor (as it consistently is throughout TRASH), is an energy that can be harnessed and alchemized. \r\u003cbr\u003e\r\u003cbr\u003e“It’s Trash Now…” We should acknowledge the sonic and imagistic rhymes that exist between the album name and Jinkins’s artistic moniker: “It’s trash” and “AshTre”… Jinkins is a self-styled connoisseur of grit, sifting through yesteryear’s beats like a crust punk searching for that one cigarette butt with a little tobacco left. He’s salvaging the goods and casting off the cheap imitations—all the pretenders to the throne. \r\u003cbr\u003e\r\u003cbr\u003eThe first track, “MYSPACE 2006,” situates us, temporally and aesthetically. Those who were there then know (and those who weren’t probably can’t ever know) but the initial advent of social media, and Myspace in particular, constituted a wild leap forward for DIY musicians, a rapid expansion of one’s horizons—influences, connections, potential, etc. One minute you’re a kid listening to gospel and Jill Scott in the backseat of your mom’s car, then you’re installing FruityLoops 7 on your family desktop. Next thing you know Ras G is watching you play your first cypher and, pretty shortly thereafter, he’s treating you to your first proper Ethiopian dinner, willing and happy to talk the good talk. This is all, of course, assuming you’re someone possessed with talent, ambitions, and curiosity of spirit on Jinkins’s level.\r\u003cbr\u003e\r\u003cbr\u003eThis ambition carries with it a bite: a visceral skepticism cast towards those chasing the money, the fame, the notoriety, the clout, at the expense of the music. In title alone, TRASH’s first single “NOT COCO BUTTER ENUFF,” functions as an indictment of the commercially friendly neo-soul that has, to Jinkins’s mind, dead-ended so many promising experimental careers. That the track is one of the records’ most recursive and texturally gritty is maybe no accident. Likewise the deceptively slippery, almost psychedelic “YOU WERE NOT SPACE BASE APPROVED,”is a sideways meditation on the unfortunate inevitability of fools rushing in after a legend dies, trying to consume all the oxygen. \r\u003cbr\u003e\r\u003cbr\u003eTRASH straddles ambient and, broadly, the California beat stuff that drew Tre into first performing. “LEVELS TO THIS” is a circa ‘09 Low End Theory redux barn burner if ever there was one. The record’s final track, “WE NOT LINCOLN,” is comparatively laid back, but the hits aren’t shy in the mix, and if you let the track lure you in, there’s a sort of *wink wink \/ nudge nudge* IDM nostalgia that reveals itself. Nostalgia, indeed, as well as humor (of the wry and quick-witted variety) are two of the record’s most readily identifiable colors. “DRUG DEPRESSED,” the record’s second track and a pseudo-interlude, feels simultaneously genuinely confessional (the track begins with the modulated admission, “...I am drug depressed”), and, also, maybe a little bit willfully goofy? With its warbly, shuddering foundation. We can’t ever say for certain when Jinkins’s tongue is or is not planted firmly in cheek. But it doesn’t really matter. Sarcasm and sincerity can, in fact, coexist, and this thesis can be proven by an eleven track instrumental electronic hip-hop (choose yr additional genre qualifier of choice) record. Jinkins is, to borrow a couple phrases from one of IT’S TRASH NOW’s track titles, a “young old head,” with a “day one archive.” And fellow heads of all ages and backgrounds would be wise to tune in.\r\u003cbr\u003e\r\u003cbr\u003eBio by Emmett Shoemaker\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eMYSPACE 2006 (4:43)\u003c\/li\u003e\n  \u003cli\u003eDRUG DEPRESSED (1:50)\u003c\/li\u003e\n  \u003cli\u003eYOU WERE NOT SPACE BASE APPROVED (5:06)\u003c\/li\u003e\n  \u003cli\u003eDAY ONE ARCHIVES (2:53)\u003c\/li\u003e\n  \u003cli\u003eIT'S TRASH NOW (4:00)\u003c\/li\u003e\n  \u003cli\u003eYOUNG OLD HEAD (THERE FOR THE CHANGES) (3:00)\u003c\/li\u003e\n  \u003cli\u003eNOT COCO BUTTER ENUFF (2:25)\u003c\/li\u003e\n  \u003cli\u003eOUT THE WAY, IN THE MIX (3:00)\u003c\/li\u003e\n  \u003cli\u003eLEVELS TO THIS (9:25)\u003c\/li\u003e\n  \u003cli\u003eLET'S ACKNOWLEDGE THE FACT THAT YOU TRIED ME (1:42)\u003c\/li\u003e\n  \u003cli\u003eWE NOT LINCOLN (2:03)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120790339899,"sku":"A-ISTN-BV","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1649681976_10.jpg?v=1775844979"},{"product_id":"qoa-sauco-lp-2","title":"Qoa - SAUCO LP","description":"\u003cp\u003eSonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.\r\u003cbr\u003e\r\u003cbr\u003eHailing from Argentina, QOA (Nina Corti) is a musician and sound artist who seeks to remedy this aural dysbiosis.\r\u003cbr\u003e\r\u003cbr\u003eSAUCO is a fertile and bracing voyage into the Argentinian wilderness, a journey both mournful and healing—an effort to trace what has been lost, what remains, and what might return. Each of SAUCO’s nine tracks draws its name and inspiration from a lifeform (be it plant, animal, lichen, insect) native to QOA’s homeland. These songs are carefully crafted offerings to their namesakes: attempts to study, honor, and convey the essence of the thing.\r\u003cbr\u003e\r\u003cbr\u003ePerhaps even we might consider these songs to be collaborations between QOA and this humble roster of entities—collaborations with often therapeutic applications. What, for example, can we as individuals draw from the Sambucus Nigra or Black Sauco—the tree that serves as the album’s title track (and which grows, coincidentally, both in QOA’s Argentina as well as Leaving Records’ home-base of Los Angeles)? \r\u003cbr\u003e\r\u003cbr\u003eRootedness, the track suggests. Aspiration. A gentle vertical yearning of sky and earth. QOA’s artistic practice is expansive, incorporating not only recorded music, but audio-visual performances and sound installations. \r\u003cbr\u003e\r\u003cbr\u003eThey describe these immersions as sites of potential collaboration between human and nonhuman life, opportunities to dream up, collectively, more nourishing, embodied futures. That QOA has also spent the past several years as a committed member of an experimental Gamelan collective should come as no surprise, what with the Balinese tradition’s communal, recursive, and generative tendencies. (Gamelan, like the buzz of insect wings, is an ever-present reference throughout SAUCO). Uniting all of these efforts, QOA\r\u003cbr\u003e\r\u003cbr\u003eseeks to cultivate the conditions, the “soil,” that might encourage the emergence of hybridized new \/ old sounds. Conceptually rigorous, SAUCO is nevertheless a soothing, often joyful listen. Generally straddling the slippery boundary separating ambient and dance music (with a healthy\r\u003cbr\u003esupplemental dose of environmental recordings), incidental delights abound: moments of organic rupture (ex: “Muiti’s” melodic raindrop preamble). It is a song collection suffused with concern for interdependence, co-creation, and an almost prayerful attention to minutia and microcosm—a release that rewards (in different ways, and to varying extents) both active and passive listening.\r\u003cbr\u003e\r\u003cbr\u003eWe do offer this final note: those individuals craving a certain kind of deeper experience of SAUCO are encouraged to google each track’s namesake for accompanying “tecnonatural” edification.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eSAUCO (4:22)\u003c\/li\u003e\n  \u003cli\u003eLIQUEN (2:51)\u003c\/li\u003e\n  \u003cli\u003eYATEI (3:04)\u003c\/li\u003e\n  \u003cli\u003eMUITU (3:17)\u003c\/li\u003e\n  \u003cli\u003eCIEVRVO DE LOS PANTANOS (5:44)\u003c\/li\u003e\n  \u003cli\u003eLIPPIA ALBA (2:37)\u003c\/li\u003e\n  \u003cli\u003eSENNA (6:38)\u003c\/li\u003e\n  \u003cli\u003eANARTIA (2:36)\u003c\/li\u003e\n  \u003cli\u003eZAFIRO DEL TALAR (4:36)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120792109371,"sku":"QO-SA-VB","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3502958602_10.jpg?v=1775845263"},{"product_id":"arushi-jain-delight-lp-1","title":"Arushi Jain - Delight LP","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 \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120792142139,"sku":"AJ-D-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1703997291_1x1_700.avif?v=1788358356"},{"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. 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":51120794665275,"sku":"BF-ATTW-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1874061578_10.jpg?v=1775844970"},{"product_id":"sharada-shashidhar-soft-echoes-lp-3","title":"Sharada Shashidhar - Soft Echoes CASSETTE","description":"\u003cp\u003eLos Angeles-based vocalist, composer, and producer Sharada Shashidhar has a deep awareness of the cosmos. There’s a distinct tug-of-war in her music, an understanding that scanning the heavens to answer existential queries isn’t quite enough; there are internal depths to plumb as well. Shashidhar’s first album, 2020’s Rahu, found her voice billowing out of smoky, post-beat-scene soundscapes, meditating on the collective unconscious and the energy exchange between all living things. Her newest work, Soft Echoes, is a bold step forward, eschewing her previous work’s hip-hop tilt for expansive compositions that blend jazz and Indian classical influences into a swirling, spiritual whole. \u003cbr\u003e\u003cbr\u003eThough she has an extensive resume as a collaborator in LA’s experimental jazz scene, notching work with the likes of Carlos Niño, Zeroh, and the Pan Afrikan Peoples Arkestra, Soft Echoes marks Shashidhar’s first outing as a bandleader. Gathering an ensemble that includes Anna Butters on bass, Julius Rodriguez on keys, Devin Daniels on saxophone, and Timothy Angulo on drums, Shashidhar sought to create a band that ostensibly functioned as an extension of herself. Her primary goals in writing these songs were to “let [her] body do what it wanted to do,” to trust her intuition, and “play without judgment.” Through that process, making Soft Echoes became a practice of presence and exploration, a chance to unlearn rigid structures and rediscover the joy of creating for oneself. \u003cbr\u003e\u003cbr\u003eRecording took place over three brief, distinct sessions at Altamira Sound in Alhambra, California. Though the full band wasn’t ever present at the same time, Soft Echoes sounds like the work of a group in complete, mind-meld focus. Splashy drums nudge up against skronkingsaxophone on “Canyon Song,” while mushrooming synth tones stack up behind rippling Rhodes piano on “Luckiest.” Shashidhar’s elegant voice is the anchor for each of these tracks, sometimes gracefully stretching between instruments like a lithe dancer’s limbs, other times scattering through psychedelic delay. \u003cbr\u003e\u003cbr\u003eShe describes the album as having “two poles,” illustrated by the whimsical, buoyant opener “Soft Echoes” and the darker, more anxiety-ridden closer, “New Echoes.” The songs in between may come from different emotional spaces, but “it’s all really reflective,” she explains. The album can play like a loop, with Shashidhar entering a portal “into the endlessness” during “New Echoes,” only to be transported back to the beginning, full of gratitude and pondering “how strange it is to be alive.” On Soft Echoes, Shashidhar leads us on a journey through her mind, traversing its peaks and canyons in search of greater connection. “I want to take people places,” she says, pausing thoughtfully. “I can’t always guarantee that they’re good places, [but] hopefully you’ll feel something.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSoft Echoes (4:40)\u003c\/li\u003e\n\u003cli\u003eBy The Land (3:58)\u003c\/li\u003e\n\u003cli\u003eAs I Am (5:08)\u003c\/li\u003e\n\u003cli\u003eCanyon Song (5:16)\u003c\/li\u003e\n\u003cli\u003eLuckiest (4:05)\u003c\/li\u003e\n\u003cli\u003eNew Echoes (4:13)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120794894651,"sku":"SS-SE-CS","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3880624066_10.jpg?v=1775845219"},{"product_id":"lionmilk-intergalactic-warp-terminal-222-lp-2","title":"Lionmilk - Intergalactic Warp Terminal 222 CASSETTE","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":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":"andrew-cs-ᵒ-cassette","title":"andrew cs - ᵒ˶°´ Cassette","description":"\u003cp\u003eᵒ˶°´ is the first entry in an ongoing series exploring the world of insects and other macroinvertebrates. inspired by a shift in perspective informed by personal experiences with these animals, each song invites the listener into the mind of a bug — to imagine their thoughts, their feelings, their dreams — in hopes of fostering a world where empathy extends from the smallest creatures, even those that may bring fear or discomfort. \u003cbr\u003e\u003cbr\u003erecorded sporadically during practice sessions and while testing new custom devices for the norns sound computer, the 10 tracks of \"ᵒ˶°´\" expand from the electroacoustic loop-miniatures of \"caught in pointers\" \u0026amp; \"*\" with the addition of analog synth textures \u0026amp; structured songwriting drawing from japanese environmental music \u0026amp; VGM of the 90's \u003cbr\u003e\u003cbr\u003eandrew cs is a many media artist from the american midwest seeking worlds within media, cognition, and biology during the anthropocene.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ea centipede’s dream (1:38)\u003c\/li\u003e\n\u003cli\u003edreaming of a new form (mayfly nymph) (2:58)\u003c\/li\u003e\n\u003cli\u003efar from home (ant) (1:02)\u003c\/li\u003e\n\u003cli\u003eceiling spider corner (1:01)\u003c\/li\u003e\n\u003cli\u003ehollow tree thoughts (bark beetle) (1:31)\u003c\/li\u003e\n\u003cli\u003ewill i ever return? 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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. 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The record is, in a word, a balm. Like a window flung open on a sweltering day, Extravision occasions the sudden awareness of space, of calm, of context, of possibility. The record also catalogs a musician’s search for meaning and healing in the wake of catastrophe.\r\u003cbr\u003e\r\u003cbr\u003eSince its initial run, Blakeslee has been bracingly open about Extravision’s genesis. On March 13th, 2020, while walking across the street, Blakeslee was struck by a car. Upon regaining consciousness the following day, the hospitalized Blakeslee found both the outer world and his inner world suddenly transformed. As lockdowns took effect, it was immediately clear that the brain injuries Blakeslee sustained had not only affected his vision but altered his very consciousness and would inevitably affect his music-making.\r\u003cbr\u003e\r\u003cbr\u003eFrom Los Angeles, to Virginia, to Baltimore, he pursued physical and spiritual recovery with music as his primary medicine. 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Five years after their self-titled debut, electronic avant-pop outfit Harry the Nightgown embrace failure on their most maximalist, bittersweet record yet. Ugh, their latest eleven-song offering out June 6th on Leaving Records, is an exercise in freaked-out perfectionism — sighing and grinding to reveal a degree of care rooted, perhaps, more in exasperation than in self-possession. \u003cbr\u003e\u003cbr\u003eNow a trio, original members Spencer Hartling — solo artist tp Dutchkiss, experimental producer and founder of Wiggle World studio — and Sami Perez — of The She’s and Jerry Paper — are joined by east coast basement DIY harmonic theory whiz Luke Macdonald, who also tours with Sami in the band Cherry Glazerr. It’s a restless connection; on Ugh, nothing’s settled for. Cue record opener, “Bell Boy” — chopped hardware jitters and twinkles against Perez’s delivery, ranging between pensive, mean and bashful, yet somehow, surprisingly, it all contorts together into warbling harmony. Anxiety never sounded so dazzling. \u003cbr\u003e\u003cbr\u003eSupplementing earlier releases’ analog shenanigans with uncompromising digital recording meticulousness, Ugh bears witness to an unresigned, painstaking approach to songcraft. Each chord voicing and synth patch took time; Ugh even incorporates progressions Macdonald came up with way back in high school. A manic document of digital recording experimentalism, its outsized soundscapes — grooved up and dubbed out; sharp as ever, yet littered with recording artefacts — are omnivorous. Breakup bossanovas alternate into paranoid hyperballads; horns and strings chop into ambient techno beats. Yet Harry the Nightgown never give in, rattling it all into shape to craft real pop songs out of jagged palettes. \u003cbr\u003e\u003cbr\u003eSuch an eclectic record, of course, could only be the result of teamwork. No matter how personal it may get on Ugh, its frustrations are emphatically communal: a whole network of friends and collaborators pieced these massive sounds together at Hartling’s Wiggle World studio in Altadena, home to a circle of forward-thinking experimentalists which includes the likes of Qu’ran Shaheed and Colloboh. After all, Ugh is a family affair: it was Hartling’s mom that introduced Macdonald to the band after the two formed a friendship volunteering with a local mutual aid org \u003cbr\u003e\u003cbr\u003eAs the songs on Ugh work through such tight-knit entanglements, Harry the Nightgown twinkle and wobble and lash out. It’s a bittersweet reminder: it takes so much effort to stay with the problem. Yet, at last, they pull it all off, their perfected pop craftsmanship taking us to a surprisingly intimate place of earnestness. 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After a chance encounter with \u003cbr\u003ean obscure technology dating back to the 70’s allowing plant \u003cbr\u003eelectricity to be converted to MIDI data, Nico began experimenting with using his house plants to generate endlessly evolving ambient music. “I was looking for music that I couldn’t find, and I realized the plants \u0026amp; I could make it.” \u003cbr\u003e\u003cbr\u003eHere was an opportunity for another type of ambient music, one not \u003cbr\u003eborn of the human brain, to emerge. A music that moves beyond \u003cbr\u003ehuman thought forms all together, and leans deeply into the green. \u003cbr\u003eCulled from hundreds of plant songs recorded between 2016 - 2022 \u003cbr\u003eboth at home and in the wild Plant Music Vol. 1 and 2 represent the \u003cbr\u003e“greatest hits” of Nico’s plant music years. \u003cbr\u003e\u003cbr\u003ePlant music Vol. 3 marks the newest installation, showcasing music \u003cbr\u003egenerated from psilocybin mushrooms, known by many as “Golden \u003cbr\u003eTeachers”. \u003cbr\u003e\u003cbr\u003e◯ \u003cbr\u003e\u003cbr\u003e\"This music is created via an artistic translation of electrical biodata into musical data. Two mushrooms and the mycelium connecting them are hooked-up to sensors, and their fluctuating electrical conductivity is translated into an equivalent flow of music notes (MIDI). These notes are then filtered into musical scales and routed into synthesizers that generate tones. \u003cbr\u003e\u003cbr\u003eThese recordings have been arranged into a variety of solos, duets and trios. They reflect what we feel are the most fascinating and beautiful examples of psilocybin mushroom music, straight from the tub.\" \u003cbr\u003e\u003cbr\u003e◄░░░░░░► \u003cbr\u003e\u003cbr\u003eNico Georis is a keyboard player, producer \u0026amp; songwriter from \u003cbr\u003eCalifornia. He produces music from his studio at Granny's Dancehall in a ghost town amidst the wilderness. His music, a unique amalgamation of global influences, presents an imposing total aesthetic that is all his own.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBreathing Hills (5:30)\u003c\/li\u003e\n\u003cli\u003eSunstream (2:54)\u003c\/li\u003e\n\u003cli\u003eMycelium Tub (4:39)\u003c\/li\u003e\n\u003cli\u003eMind Gardens (5:25)\u003c\/li\u003e\n\u003cli\u003eConstellation (1:56)\u003c\/li\u003e\n\u003cli\u003eIt's Ok To Die (13:40)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120807117115,"sku":"NG-PMV3-V","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2224521411_10.jpg?v=1775845325"},{"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. 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Each of the EP’s six tracks represent a spell, a unique sonic place forged by imagination and incantation. Ambient in nature, each spell highlights Hunter’s skills as a composer. “It really started off with me just wanting to kind of reclaim the way that I thought about creating music and then also performing it,” Hunter says. “I was like, okay. I need to get back to the basics of why I like to create and what it does for me … so I set out to make spells, in the sense that each layer is one of the steps in incantation... It became about purpose... the procedure and the ritual, so that when it came to performing it, I wasn’t able to get into my head about it because I was just carrying out these steps. Each track is its own incantation, its own spell, its own world.” Colorful atmospheres permeate Spells, each track offering tranquil, reflective setting. Hunter explains, “Another thing that I always wanted to focus on and through making this project have sort of been able to name is that, I like to create places, songs as locations ...whether there are field recordings [involved] or not.” \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eOpening track “Soil” is accompanied by a poem: “a seed is sown, a song from silence.” Its beautiful harp and angelic voices establish the album’s mode of beautiful stillness. This is followed by “Ruins,” a tranquil soundscape abetted by insect field recordings and a slightly warped, heaven-bound trajectory, described by Hunter as a love spell. “Another thing that’s really important to me about my relationship with music is synesthesia. It’s all very palette based... For the song “Ruins,” it comes on like magenta and clementine.” On the colors present in the single “White Flower, Dark Hill,” Hunter describes “the idea of the purples and navies of the night sky and the way that shadows appear under full moonlight, the different shades of moonlight, and how it always brings out the color white.” Each track’s nuanced production and big, emotional sounds do carry a charged energy, colorful and magnetic. The shifting phases and sustained drones of “Enter” mimic the feeling of approaching and walking through a rift into a fantastical world. The listener is advanced into album highlight “Quiet Light,” which Hunter states captures, “that feeling of being like golden light in a cold still pool of water, this very specific image and feeling that I just love so much.” \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eSpells is a powerful opening statement that uses this musician's innate artistic gifts to promote healing and self awareness. 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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":"quran-shaheed-pulse-lp","title":"Qur'an Shaheed - Pulse LP (Last Copy!)","description":"\u003cp\u003ePulse is Qur'an Shaheed's debut for Leaving Records —as a pianist, poet, and vocalist from Pasadena, based in Inglewood— she fuses formal classical training with a deep commitment to improvisation. Guided by spurts of instinctual, jazzy vocalization and lyrics that incant dreams of an exalted future, Pulse transcends genre, capturing a journey toward presence, revelation, and a liberated poetics of sound. Through this album, Shaheed offers looping reflections on transformation and acceptance, revealing the fruitful arc of her artistic growth. \u003cbr\u003e\u003cbr\u003eShaheed's musical journey began in a family of musicians, led by her mother, Sharon, a pianist and music school owner, and her father, Nolan Shaheed, who toured with Stevie Wonder and was Marvin Gaye’s music director. Introduced to the piano at the age of four, she trained rigorously, laying a foundation of discipline and technical skill that has now evolved into a freer form of spontaneous, genre-defying expression. Shaheed’s musical practice is an extension of her world—playful, bold, undaunted. A fluid approach to fashion—colorful, deconstructed pieces, geometric piercings, and intricate tattoos—mirrors their creative philosophy, where compositions dissolve into iridescent soundscapes. \u003cbr\u003e\u003cbr\u003eProduced by Spencer Hartling at his Altadena studio, “Wiggle World,” Pulse reveals the synergy between Shaheed and Hartling. His tape looping and improvisational production imbue the record with a transfixing vibrancy and otherworldly glitches, showcasing a palpable collaboration that is equal parts immersive and omnivalent, with each element harmoniously intertwining to elevate the overall sound. “Spencer really helped solidify the demos that I had created. He truly added the magic. I had seen him perform a few times, and I loved his improvisation,” Shaheed shares. The album also features Maia Harper on flute and harp, adding hypnotic textures that deepen its emotional scope. \u003cbr\u003ePulse builds on the groundwork laid by her 2020 release, Process, but ventures far beyond, embodying the vulnerable evolution that Shaheed describes as “meeting myself where I was,” in reverberant explorations of longing and imagination. The album’s title lays the conceptual groundwork for an immersive aliveness echoed track after track. This record emerged from Shaheed’s desire to create fluid music that reflects the evolving self, unconstrained by convention or expectation. Beginning with late-night demo sessions, she experimented outside of digital audio workstations, using her keyboard and a Roland SP-404 sampler to craft each track. Shaheed’s ethereal vocals, shifting from dreamlike whispers to bold intensity, blend among jagged keys and neo-soul elucidations. “Improvising let me be free of expectation,” Shaheed reflects. “I wanted to make something that wasn’t bound by themes.” \u003cbr\u003e\u003cbr\u003eLyrically, Pulse traces the limits of felt presence and weaves threads of sempiternal connection, using poetic reflections written in Shaheed’s phone's notes app. Each track extends an invitation to both meditate and move. Tracks like “Dream” resonate with premonition and discernment: “I still dream. You can’t take away the things that I know. In my mind I know, I know.” Forging an effortless path for listeners to enter a portal of psychic reconfiguration and reflection. “I wanted each track to feel like a different window into my mind,” she says. Diaristic fragments and collaged production cues offer a window beyond Shaheed’s mind, calling into a transformative world. In “Doo Doo Doo,” listeners are invited to imagine an expanded existence through an unflinching manifesto: “I’m not here to help you. I’m not here to pull you up (no no no). I’m not here for you. I’m here for me. Enough for the jobs that won’t even pay me.” Simultaneously in devotion to self and critique of labor exploitation, Shaheed connects varied pieces—verse by verse—to a coherent future vision where liberation starts now. \u003cbr\u003e\u003cbr\u003eShaheed draws inspiration from movement, breath, and community: “Finding my flow—that’s when inspiration comes.” The record’s eleven tracks illuminate Shaheed’s resolve for wide-ranging, innovative musical techniques that merge intuitive composition with methodical devotion. Pulse is a spirited, unflinching approach to a new sound from Shaheed, inviting listeners into a field of lucid vision and resonance, capturing Shaheed’s voice in its most liberated form.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDreams (4:54)\u003c\/li\u003e\n\u003cli\u003eFix It, Pt. 1 (3:29)\u003c\/li\u003e\n\u003cli\u003eFix It, Pt. 2 (2:35)\u003c\/li\u003e\n\u003cli\u003eVariation 1 (4:30)\u003c\/li\u003e\n\u003cli\u003eDoo Doo Doo (2:14)\u003c\/li\u003e\n\u003cli\u003e3am Wine Drunk (3:17)\u003c\/li\u003e\n\u003cli\u003eUrgay (1:45)\u003c\/li\u003e\n\u003cli\u003eMixing Colors (5:02)\u003c\/li\u003e\n\u003cli\u003eVariation 2 (3:32)\u003c\/li\u003e\n\u003cli\u003eVariation 3 (5:00)\u003c\/li\u003e\n\u003cli\u003eSomber Eyes (5:37)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e- *edition of 200 black vinyl\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120815374651,"sku":"QAS-P-V\/ LR277","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a4245327378_1x1_700.avif?v=1789581071"},{"product_id":"glia-matthewdavid-gliamd-ep-cassette","title":"Glia \u0026 Matthewdavid - Gliamd EP Limited Edition Cassette","description":"\u003cp\u003ethis EP captures the first collaborative experiments of the two artists - sonic fabric + texture designed \u0026amp; elaborated upon during quarantine 2020 via virtual file transfer exchanged between LA-based composer Matthewdavid and Virginia-based composer Glia.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e185630-mxd (3:04)\u003c\/li\u003e\n\u003cli\u003efirerain-mxd (3:41)\u003c\/li\u003e\n\u003cli\u003egliamd-mxd (3:40)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120817373499,"sku":"GM-GE-GELE","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1948835986_1x1_700.avif?v=1788978349"},{"product_id":"j-foerster-n-kramer-habitat-ii-lp-3","title":"J Foerster \/ N Kramer - Habitat II LP","description":"\u003cp\u003eHabitat (what we might now properly refer to as Habitat I) arrived, fully-formed, in 2021—the product of a conscientious, exploratory, and decidedly Covid-era collaboration between two Berlin-based experimental musicians: the composer N. (Niklas) Kramer, and percussionist, J. (Joda) Foerster. Inspired by the Italian architect, Ettore Sottsass, Habitat’s simple, albeit beguiling conceit (following in the footsteps of canonical ambient releases like Music for Airports and Plantasia) was that each track ought to represent a room in an imagined building. Taken quite literally, tracks like “Curved Hallway” guided the listener through a kind of psychogeographic labyrinth, at once welcoming and slightly uncanny. \u003cbr\u003e\u003cbr\u003eHabitat II operates on a similar premise. But if Habitat I charted the perplexing intricacies of an imagined, self-contained structure, Habitat II expands the conceptual realm. Think now, not only of rooms in a hypothetical home, but of the winding hallways and grounds of a mid-century structure—perhaps slightly past its prime, but not at all an inappropriate venue for a late-night soiree. How might these features be imagined, mapped, and rendered enticing for a listener? We begin, appropriately, with “Seating (Welcome),” which, in its fluttering, aetherial suite of static, winds, and percussive depths, gently hypnotizes in the vein of Terry Riley, beckoning our entry. The clarity here, the directional flow of air, recalls the dignity and gestural simplicity of the Bauhaus school. \u003cbr\u003e\u003cbr\u003eOf significant note is the Wasserspiel (track seven)—”water fixture” (loosely translated), like the sculpture by Lily Clark, which graces the record’s cover. In an album grounded by analogies, Wasserspiel constitutes an especially mimetic highlight: a cascading, shimmering, font of radiance that does not (to its strength) rely upon a sample or found-sound reference to running water. Instead we are left with the distinct impression of the glimmer of flowing liquid, and of the attendant, refractory evening sunlight. Indeed, fountains (the most common and domesticated form of Wasserspiele)—their simultaneous kitsch and abundance—may very well epitomize the kind of cultivated, sixties home-shopping catalog aesthetic that undergirds the Habitat series. These habitats, wherever they are, however they appear to you (and there is indeed ample room for interpretation)—we can all certainly agree that they are vaguely utopian and achingly nostalgic. \u003cbr\u003e\u003cbr\u003eOf their compositional process, Kramer and Foerster reference their mutual interest in improvisation, and, furthermore, a kind of “first thought best thought” approach to recording and indexing ideas. Relying primarily on a sampler with a 15 second limit, their process emphasizes the organic layering of asynchronous (though, crucially, harmonious — perhaps even “hospitable”) loops. Suffice it to say, many rooms have been lost to the aether, casualties of a mercurial recording process. Those rooms that remain in Habitat II have been cultivated, furnished, and decorated. And they eagerly await your entry.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSeating (Welcome) (5:05)\u003c\/li\u003e\n\u003cli\u003eSouvenirs (5:03)\u003c\/li\u003e\n\u003cli\u003eCatalog (3:28)\u003c\/li\u003e\n\u003cli\u003eBedding (Four Layers) (5:56)\u003c\/li\u003e\n\u003cli\u003eNew Sway (5:23)\u003c\/li\u003e\n\u003cli\u003eBlue Terrace (5:38)\u003c\/li\u003e\n\u003cli\u003eWasserspiel (5:18)\u003c\/li\u003e\n\u003cli\u003eWindspiel (3:19)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120817406267,"sku":"JFNK-HI-BV","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2995085102_1x1_700.avif?v=1788361156"},{"product_id":"laraaji-all-in-one-peace-cassette","title":"LARAAJI - All In One Peace 3x Cassettes","description":"\u003cp\u003eOriginally compiled \u0026amp; released in 2015 by Leaving Records \u0026amp; Laraaji, we proudly present (again), with humble gratitude, three re-issues of seminal works by new age musician, composer, and laughter meditation workshop leader Laraaji - recorded between 1978 and 1983. Although some excerpts of the material have been featured on various compilations, this was the first time in over 30 years that one can experience the uninterrupted duration of these cosmic etudes in their complete form. The added length creates an immersive environment of fresh, exploratory, experimental and healing sounds in which to dwell– these are the proper, entire experiences as intended by their creator.\r\u003cbr\u003e\r\u003cbr\u003e1978’s Lotus Collage was recorded live in a Park Slope, Brooklyn living room during Laraaji’s busker years. The sounds consist of freestyle electric open tuned zither\/harp, Ecstatic Rhythmic hammer percussion, and free flow open hand ethereal moods. This recording crucially predates Laraaji’s now mythological “discovery” by Brian Eno, and is significant as one of Laraaji’s first electric zither recordings. This early recording captures a youthful Laraaji at the outset of his musical journey, still ripe for discovery, exploration, and transcendence. 1981’s Unicorns in Paradise was performed on electric keyboard Casiotone MT-70, and once again features Laraaji’s iconic zither in a flowing atmospheric improvisation. Laraaji describes its sonic environs as “an ideal habitat in another dimension of timelessness.” Many years later, this description holds true as its vibrant sounds inspire sensual reflections of the excited imagination. The final re-issue consists of two parts. Its first side, “Trance Celestial,” is a glowing, amorphous survey of muted and malleable electric sounds. Its uncharacteristically dark atmospheres nevertheless still paint a surreal atmosphere for self-reflection. Much beauty and inner-wisdom can be found in the depths of its inward trajectory. In contrast, the title track is a guided meditation full of light and optimism. Its spoken word segments and patient arrangements illustrate a constructive framework for enjoying the whole of Laraaji’s extensive catalog.\r\u003cbr\u003e\r\u003cbr\u003eOriginally, these releases were hand-made and dubbed to cassette by Laraaji himself. Of the process, he says “I felt like I was distributing artwork. As a matter of fact, for some of the cassettes I actually did some extra handwork on the label, doing a screen print or magic marker to add some color. So there was a sense of how to be an industry homemade artist direct-to-consumer feeling in the early years. People would ask for cassette tapes of an issue that I had not mass produced. So, now and then I’ll run into somebody who has a cassette tape… I’ll look at it and say, ‘Oh Wow, hand-made label, J-card and HEART.'”\r\u003cbr\u003e\r\u003cbr\u003eAvailable on both cassette and digital, these re-issues offer Laraaji’s early music in both its original form and a form that did not exist at the time of its recording. Regarding this parallel, Laraaji reflects, “Having the music move in dimensions I didn’t predict… It feels like an extended blessing.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n  \u003cli\u003eUnicorns In Paradise (Side A) (42:26)\u003c\/li\u003e\n  \u003cli\u003eUnicorns in Paradise (Side B) (45:32)\u003c\/li\u003e\n  \u003cli\u003eLotus Collage (Side A) (29:57)\u003c\/li\u003e\n  \u003cli\u003eLotus Collage (Side B) (28:59)\u003c\/li\u003e\n  \u003cli\u003eTrance Celestial - Movement 1 (3:20)\u003c\/li\u003e\n  \u003cli\u003eTrance Celestial - Movement 2 (9:22)\u003c\/li\u003e\n  \u003cli\u003eTrance Celestial - Movement 3 (3:32)\u003c\/li\u003e\n  \u003cli\u003eTrance Celestial - Movement 4 (4:56)\u003c\/li\u003e\n  \u003cli\u003eTrance Celestial - Movement 5 (7:37)\u003c\/li\u003e\n  \u003cli\u003eConnecting with the Inner Healer Through Music (A Transmission of Musical Verbal Information) (34:25)\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120818520379,"sku":"L-AIOP-AIOP","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/34046286_10.jpg?v=1775845167"},{"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":"aisha-vaughan-the-gate-lp-1","title":"Aisha Vaughan - The Gate CASSETTE","description":"\u003cp\u003eWelsh musician Aisha Vaughan presents The Gate. It is upon us to renew the deep-cut, heavy-weighted melancholy of Celtic New Age for 2024. New Age music from the Celtic\/British Isles crossed over into the mainstream in the late 80s - notably with Enya (and her band Clannad), the perhaps now lesser-known instrumental Celtic harp music of Patrick Ball, and the slew of now mostly forgotten various artist compilations that saturated the New Age CD and cassette music market in the early 90s. \u003cbr\u003e\u003cbr\u003eThe Gate earnestly gives reverence to the landscape that she calls home (as cinematically portrayed consistently in Vaughan’s self-shot videos via her social media). Now living in converted barn in mid-Wales, Vaughan writes and records her music to red kites and eagles hunting in the mountains outside her windows. The notably welcomed layers of ASMR sound design and computer music production supplement the main instrument here - her voice - woven within campfire crackle, wind chime, cricket, bird, harp, flute, synthesizer pad \u0026amp; sfx, and new moon wolf howl to channel celestial guides conjured from her remote homeland. \u003cbr\u003e\u003cbr\u003eUsing composition as catharsis stemming from a traumatic upbringing where music was banned in her childhood household, and the inherent occult history that surrounds the art form, Vaughan does not shy away from precisely stewarding this particular - often still-overlooked - musical tradition through her generation’s ambient lens.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNo Past, No Present, No Future (4:37)\u003c\/li\u003e\n\u003cli\u003eHalf Awake (5:25)\u003c\/li\u003e\n\u003cli\u003eDo You Love Me (4:29)\u003c\/li\u003e\n\u003cli\u003eDay Dreams (5:27)\u003c\/li\u003e\n\u003cli\u003eAcross The Golden Land (3:51)\u003c\/li\u003e\n\u003cli\u003eA Moment In Space Time (7:28)\u003c\/li\u003e\n\u003cli\u003eCampfires (5:08)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"LEAVING RECORDS","offers":[{"title":"Default Title","offer_id":51120818782523,"sku":"AV-TG-C","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a528963977_10.jpg?v=1775845300"},{"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"}],"url":"https:\/\/clandestinedistribution.com\/collections\/leaving-records.oembed?page=3","provider":"Clandestine Distribution ","version":"1.0","type":"link"}