Fabiano is a Rio de Janeiro-born, LA-based multi-string guitarist, composer and producer with an ever-expansive sound, borrowing from the traditions of samba and choro while echoing elements of modern jazz, pop, experimental &#x26; electronic.

Fabiano Do Nascimento

*release date Feb 7 2025
*runtime 33min
<ul>
<li>
On Wednesday June 21, 2023 LA-via-Rio composer Fabiano do Nascimento had organized - with Leaving Records and a succinctly assembled ensemble of contemporary A-list fusion players in the local scene - a one-night-only seated concert at a historic venue in Northeast Los Angeles. Do Nascimento and his band set out to perform a curated selection of original music and other favorites from cherished composers.
</li>
<li>
Behold Solstice Concert - the raw recording of what went down that evening - straight from the board, solstice vibes glistening, full band in both total synchronization and full freak-out mode, audience stoked. Although unintended to be a full-length album release subsequent to the performance, the tape was indeed rolling however unknown to the band on stage and those in attendance.
</li>
<li>
Fabiano Do Nascimento plays 7-string guitar, soprano guitar, and electronics. Sam Gendel plays soprano saxophone and MIDI saxophone. Gabe Noel plays the electric bass. Tamir Barzilay plays drums, percussion, and electronic drums.
</li>
<li>
Art direction Sam Gendel
</li>
<li>
Mastering Matthewdavid
</li>
<li>
All Songs Fabiano Do Nascimento except Feijoada Hermeto Pascoal
</li>
</ul>

- *shipping March 2025
- *edition of 500 black vinyl
- *design by Sam Gendel

VINYL

- *now shipping
- *design by Sam Gendel
- *opaque yellow shell, red ink
- *album in-full on both sides
- *idk about y'all but to me this one sounds especially great on tape

CASSETTE

Solstice Concert

Das Nuvens

Nene's Song

Aurora

Train to Imagination

Valsa

Feijoada

Haru

Floresta Dos Sonhos

<ul>
<li>*shipping March 2025</li>
<li>*edition of 500 black vinyl</li>
<li>*design by Sam Gendel</li>
</ul>

<ul>
<li>*now shipping</li>
<li>*design by Sam Gendel</li>
<li>*opaque yellow shell, red ink</li>
<li>*album in-full on both sides</li>
<li>*idk about y'all but to me this one sounds especially great on tape</li>
</ul>

Matthewdavid

- 100% Zithertronics straight off the top.
<ul>
<li>
*norns running <a href="https://github.com/andr-ew/rpls" target="_blank" rel="noopener">&#x26;'s rpls script</a>
</li>
<li>
*zither
</li>
<li>
*critter guitari pocket piano + bolsa bass
</li>
<li>
*trogotronic pulse generator
</li>
<li>
track 11 features Carlos Niño
</li>
<li>
photos by Nico Georis
</li>
</ul>

- *ships late Jan 2025
- *hand-marbled shell
- *Star Trek trading card
- *mixtape plays in-full on both sides

100% Zithertronics

Zithertronics Mixtape

<ul>
<li>*ships late Jan 2025</li>
<li>*hand-marbled shell</li>
<li>*Star Trek trading card</li>
<li>*mixtape plays in-full on both sides</li>
</ul>

Aisha Vaughan

*release date Dec6 2024,
*(exclusive early digital album download only via leavingrecords.com)
Welsh 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.
The 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 &#x26; sfx, and new moon wolf howl to channel celestial guides conjured from her remote homeland.
Using 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.
<ul>
<li>music by Aisha Vaughan</li>
<li>mastered by Matthewdavid</li>
<li>photography by Max Blomfield</li>
<li>design &#x26; layout by Studio Ampersands</li>
</ul>

- *shipping now, digital download emailed
- *edition of 100 12" Sky Blue Transparent Vinyl
- *non-toxic 100% recyclable vinyl records manufactured using injection molding process instead of PVC via Good Neighbor Music. (goodneighbormusic.com)
- *hand-stamped white jackets w.die-cut center circle
- *center labels & stamp designed by Studio Ampersands, photography by Max Blomfield

- *now shipping, digital download emailed
- *edition of 100
- *full album plays on both sides
- *designed by Studio Ampersands, photography by Max Blomfield

The Gate

No Past, No Present, No Future

Half Awake

Do You Love Me

Day Dreams

Across The Golden Land

A Moment in Space Time

Campfires

<ul>
<li>*shipping now, digital download emailed</li>
<li>*edition of 100 12" Sky Blue Transparent Vinyl</li>
<li>*non-toxic 100% recyclable vinyl records manufactured using injection molding process instead of PVC via Good Neighbor Music. (goodneighbormusic.com)</li>
<li>*hand-stamped white jackets w.die-cut center circle</li>
<li>*center labels &#x26; stamp designed by Studio Ampersands, photography by Max Blomfield</li>
</ul>

<ul>
<li>*now shipping, digital download emailed</li>
<li>*edition of 100</li>
<li>*full album plays on both sides</li>
<li>*designed by Studio Ampersands, photography by Max Blomfield</li>
</ul>

Spencer Zahn is the LA-residing bassist/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 sonic spaces rich with contributions from his creative community.

Spencer Zahn

*release date Dec13 2024
*total runtime 1hr 13min
Spencer Zahn is the LA-residing bassist/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 sonic spaces rich with contributions from his creative community.
In 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.
On 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.
<ul>
<li>
Side A
Recorded by Adrian Garcia
Mixed by Spencer Zahn
Recorded live at Leaving Records on October 14, 2023
</li>
<li>
Side B
Recorded by Rob Shelton and James Riotto
Mixed by Spencer Zahn
Recorded live at Altamira Sound on November 19, 2023
</li>
<li>
Mastered by Matthewdavid McQueen
</li>
<li>
Artwork &#x26; Layout by Radha Vishnubhotla
</li>
<li>
Photography by Clifford Usher
</li>
<li>
Personnel:
*Vancil Cooper, drums
Nicole McCabe, alto saxophone
Zach Tenorio, electric piano
Spencer Zahn, fretless bass &#x26; piano
</li>
</ul>

- *shipping around/before release date
- *edition of 200 cassettes
- *art direction from Radha Vishnubhotla
- *total runtime 1hr 13min
- *side A Live at Leaving Records
- *side B Live at Altamira Sound

Statues Live

Changes in Three Parts [Live at Leaving Records]

Lawns [Live at Leaving Records]

High Touch [Live at Leaving Records]

Curious Frame [Live at Leaving Records]

Wind Unsung [Live at Leaving Records]

Short Drive Home [Live at Altamira Sound]

OST [Live at Altamira Sound]

Lawns [Live at Altamira Sound]

Wave [Live at Altamira Sound]

Curious Frame [Live at Altamira Sound]

Snow Fields [Live at Altamira Sound]

Wind Unsung [Live at Altamira Sound]

<ul>
<li>*shipping around/before release date</li>
<li>*edition of 200 cassettes</li>
<li>*art direction from Radha Vishnubhotla</li>
<li>*total runtime 1hr 13min</li>
<li>*side A Live at Leaving Records</li>
<li>*side B Live at Altamira Sound</li>
</ul>

<ul>
<li>
*printed by hand at the <a href="https://extra-vitamins.com" target="_blank" rel="noopener">Extra-Vitamins</a> studio in nyc on a faded black tee.
</li>
<li>
*original leaf graphic for LEAVING RECORDS music series LISTEN TO MUSIC OUTSIDE IN THE DAYLIGHT UNDER A TREE.
</li>
<li>
*cropped, boxy fit.
</li>
<li>
*incredibly soft fabric made from cotton waste to conserve water and energy.
</li>
<li>
*knit in los angeles with a low carbon footprint.
</li>
<li>
*Mia is 5'8" and wearing a L.
</li>
</ul>
SIZE 	S	M	L	XL
chest WIDTH	21"	22.5″	25″	27.5″
body LENGTH	24"	25″	26″	28″

TREE MUSIC TEE - SLATE

<ul>
<li>
*printed by hand at the <a href="http://www.extra-vitamins.com" target="_blank" rel="noopener">Extra-Vitamins</a> studio in nyc on an off-white tee.
</li>
<li>
*original leaf graphic for LEAVING RECORDS music series LISTEN TO MUSIC OUTSIDE IN THE DAYLIGHT UNDER A TREE.
</li>
<li>
*cropped, boxy fit.
</li>
<li>
*incredibly soft fabric made from cotton waste to conserve water and energy.
</li>
<li>
*knit in los angeles with a low carbon footprint.
</li>
<li>
*Mia is 5'8" and wearing a L.
</li>
</ul>
SIZE 	S	M	L	XL
chest WIDTH	21"	22.5″	25″	27.5″
body LENGTH	24"	25″	26″	28″

TREE MUSIC TEE - SCOUR

Sharada Shashidhar's soulful voice takes inspiration from jazz and Indian classical music, that influences her songwriting and productions. Her elaborate harmonies and vocal creativity come together in a new beat-orientated spiritual jazz.

Sharada Shashidhar

Los 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.
Though 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, Julian 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.
Recording 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.
She 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.”

- *ships around release date
- *12" vinyl
- *black / orange / white splatter vinyl - edition of 100
- *design by Jordan Rundle
- *artwork by Rajni Perera
- *mp3 download emailed upon purchase

VINYL (COLOR)

- *ships around release date
- *black 12" vinyl
- *design by Jordan Rundle
- *artwork by Rajni Perera
- *mp3 download emailed upon purchase

VINYL (BLACK)

- *now shipping
- *LP in-full on both sides (C48)
- *full-color 3panel JCard, front and back
- *design by Jordan Rundle
- *artwork by Rajni Perera
- *mp3 download emailed upon purchase

Soft Echoes

By The Land

As I Am

Canyon Song

Luckiest

New Echoes

<ul>
<li>*ships around release date</li>
<li>*12" vinyl</li>
<li>*black / orange / white splatter vinyl - edition of 100</li>
<li>*design by Jordan Rundle</li>
<li>*artwork by Rajni Perera</li>
<li>*mp3 download emailed upon purchase</li>
</ul>

<ul>
<li>*ships around release date</li>
<li>*black 12" vinyl</li>
<li>*design by Jordan Rundle</li>
<li>*artwork by Rajni Perera</li>
<li>*mp3 download emailed upon purchase</li>
</ul>

<ul>
<li>*now shipping</li>
<li>*LP in-full on both sides (C48)</li>
<li>*full-color 3panel JCard, front and back</li>
<li>*design by Jordan Rundle</li>
<li>*artwork by Rajni Perera</li>
<li>*mp3 download emailed upon purchase</li>
</ul>

an Artist and Engineer with the intention to heal the world with sound and spread the beauty of Indian Classical Music in between new york &#x26; new delhi

Arushi Jain

DELIGHT, 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 worthwhile endeavour. 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. 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.
Jain, 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.
Each 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.
Stirred 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.
Phrases, lyrics, and notes recur, but the feelings they evoke are consistently novel; DELIGHT is diverse and fluid. Whereas the first track, “still dreaming” rises, falls, and morphs with stately subtlety, “imagine an orchestra” locks into a propulsive, if humble, 90’s techno groove. The prominent sampling of the saxophone in “I surrender” signals a departure from the synthesis that Jain is known for, adding an expansive organic component to her sound. Such experimentation is characteristic of Jain’s present creative mode; 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.
<hr>
<ul>
<li>Songwriting, Composition, Arrangement, Production: Arushi Jain</li>
<li>Creative Direction: Arushi Jain</li>
<li>Mix: Christopher Botta</li>
<li>Master: Daddy Kev</li>
<li>Photography and Image Creative Direction: Zara Saraon</li>
<li>Design and Layout: John Sampson</li>
</ul>
Music Detail
<ul>
<li>Arushi 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)</li>
<li>Annie Wu: Flute (A4)</li>
<li>MIZU: Cello (A2)</li>
<li>Payton MacDonald: Marimba (B1)</li>
<li>Ria Modak: Classical Guitar (A1)</li>
<li>Samuel Newsome: Saxophone (A1, A3, B3)</li>
<li>Songwriting Support: Trijeet Mukhopadhyay</li>
</ul>
Album Cover Detail
<ul>
<li>Makeup: Andrew D’Angelo</li>
<li>Hair: John Novotny</li>
<li>Styling: Stephanie Renée via Gabriel Held</li>
<li>Photo Assist: Salem Ballew</li>
<li>Image Processing: Ariel Laspinas</li>
<li>Photoshoot Support: Avarna Jain, Eri Gamo, Jenna Leonardo</li>
</ul>
Writing Detail
<ul>
<li>Arushi Jain: Lyric (A1, A2, A4, A5, B1, B2, B3, B4)</li>
<li>Eugenia Puglisi: Lyric (A1, in part)</li>
<li>Sunil Rao: Lyric (A2, in part)</li>
<li>Bio: Emmett Shoemaker</li>
<li>Writing Feedback: Alka Nath, Eugenia Puglisi, Saguna Goel</li>
<li>Naming Support: Alka Nath, Avarna Jain, Carly Lave, Saguna Goel</li>
</ul>
Thank you Emma Villeneuve for providing the physical space for the conception of this work.

- now shipping shipping
- 1LP black vinyl
- graphic wrap-around obi-band
- full-color photographic inner-sleeve

- now shipping
- smoky clear cassette shell
- full-color 4panel JCard w.photography, illustration, and liner notes on both sides

Delight

Still Dreaming

Exquisite Portraiture

I Surrender

Imagine An Orchestra

Play In The Void

Our Touching Tongues

Portal To Silver Linings

Infinite Delight

You Are Irresistible

<ul>
<li>now shipping shipping</li>
<li>1LP black vinyl</li>
<li>graphic wrap-around obi-band</li>
<li>full-color photographic inner-sleeve</li>
</ul>

<ul>
<li>now shipping</li>
<li>smoky clear cassette shell</li>
<li>full-color 4panel JCard w.photography, illustration, and liner notes on both sides</li>
</ul>

Low Leaf is a multi-instrumentalist, vocalist, composer and producer that combines an array of genres, ever-expanding in a spectrum of its own. Exploring sound healing and plant consciousness as a part of her spiritual practice has greatly influenced her approach to music, painting, and more recently film making. In a world of illusion she insists on using her creative gifts as an instrument of truth, love, and liberation. Her ability to challenge conventions and push the boundaries of artistic expression leaves a lasting impact on those who experience her work.

Low Leaf

Low 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.
Having 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.
Fittingly, 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.
Red 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.
“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.
<ul>
<li>
Recorded live in Hollywood on October 11th, 2023
</li>
<li>
Low Leaf: harp / synth / keys / vocals
</li>
<li>
Bryan Baker: flute / saxophone
</li>
<li>
Cody Farwell: bass
</li>
<li>
Mekala Session: drums
</li>
<li>
Mixing and mastering by Zeroh
</li>
<li>
"Blue Nile" by Alice Coltrane
</li>
<li>
Photography by Monica Reyes
</li>
<li>
Layout by Jordan Rundle
</li>
<li>
Bio Emmett Shoemaker
</li>
<li>
2024 Leaving Records All Genre
</li>
</ul>

- *estimated shipping June 2024
- *opaque magenta vinyl, 45rpm - edition of 100
- *black poly-lined paper innersleeve
- *photography by Monica Reyes
- *design by Jordan Rundle

MAGENTA VINYL

- *estimated shipping June 2024
- *black vinyl, 45rpm - edition of 400
- *black poly-lined paper innersleeve
- *photography by Monica Reyes
- *design by Jordan Rundle

BLACK VINYL

- *shipping May 2024, edition of 200
- *album in-full on both sides
- *black opaque shell, magenta ink on-shell
- *full-color 3panel JCard, front and back
- *photography by Monica Reyes
- *design by Jordan Rundle

Red Moon

Blue Nile

Innersound Oddity

How to Open a Portal

<ul>
<li>*estimated shipping June 2024</li>
<li>*opaque magenta vinyl, 45rpm - edition of 100</li>
<li>*black poly-lined paper innersleeve</li>
<li>*photography by Monica Reyes</li>
<li>*design by Jordan Rundle</li>
</ul>

<ul>
<li>*estimated shipping June 2024</li>
<li>*black vinyl, 45rpm - edition of 400</li>
<li>*black poly-lined paper innersleeve</li>
<li>*photography by Monica Reyes</li>
<li>*design by Jordan Rundle</li>
</ul>

<ul>
<li>*shipping May 2024, edition of 200</li>
<li>*album in-full on both sides</li>
<li>*black opaque shell, magenta ink on-shell</li>
<li>*full-color 3panel JCard, front and back</li>
<li>*photography by Monica Reyes</li>
<li>*design by Jordan Rundle</li>
</ul>

<ul>
<li>lots of genre graphix: front, back, &#x26; sleeves</li>
<li>designed by Brin</li>
<li>gildan brand 100% cotton</li>
</ul>

Small

Medium

Large

All Genre Long-sleeve (White)

<ul>
<li>*nice genre representation w/sleeves that are long and good for windy weather + cozy time.</li>
<li>*front (All Genre Desconstruction) and back (Venn Diagram) designed by Brin</li>
<li>*3 LR classic logos on both sleeves</li>
<li>*Gildan brand 100% cotton</li>
<li>*printed by Family Industries in Los Angeles</li>
</ul>

All Genre Long-sleeve (Black)

GUY BLAKESLEE

After a limited self-release in 2022, Extravision, the deeply therapeutic musico-psychonautic offering from experimental guitarist Guy Blakeslee has received the Leaving Records “all genre” re-release treatment, with the understanding that more listeners should hear with this vulnerable and graceful document. 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.
Since 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.
From Los Angeles, to Virginia, to Baltimore, he pursued physical and spiritual recovery with music as his primary medicine. Sitting for hours at the piano, the man for whom guitar had always been the primary instrument now intuited the riddles and patterns laid out neatly before him in black and white.
Armed with beginner’s mind and a cassette 4-track, Blakeslee began to experiment with wordless, impressionistic songcraft. Extravision is the transcendent result, an hour-plus compendium of humble and fiery dalliances with the musical and psychical unknown—a record from a lifelong musician rediscovering the joys and vexations of learning.
Throughout Extravision, the guitar exists as both specter and reference. A majority of the album’s tracks notably do not feature any discernible guitar—the songs functioning as emotive, drone-based exercises in texture and duration. And yet, one never doubts the extent to which Blakeslee’s practice has been (and continues to be) informed by a uniquely American folk guitar idiom. We are, with Blakeslee as our guide, gladly charting the vast and newest horizons of so-called “American Primitive” music, now often referred to as “Cosmic American.”
And when Blakeslee’s interdimensional guitar does eventually emerge — see the album’s fittingly final title track, “Extravision”— the sweetness, not untinged by loss, is palpable. Blakeslee has stated that his goal, with Extravision, is to induce in the listener a trance-like state, to inaugurate the conditions under which time might function “differently.” To be sure, the drones and gentle recurrent phrases that comprise much of Extravision are a welcome antidote to the now commonly felt acceleration of time. But it is the experience that Blakeslee is transmitting with and through and beyond these musical gestures—the experience of non-linear time, of total time-loss, of starting again, of retracing one’s steps and rerouting one’s journey—that challenges and rewards us.
all music: Guy Blakeslee
mastering: Matthewdavid
art direction: Jeff Fribourg
bio: Emmett Shoemaker

- *2LP black vinyl, art direction by Jeff Fribourg
- *single wide-spine jacket, two graphic inner-sleeves
- *shipping around release date (Oct 18, 2024)
- *edition of 300

EXTRAVINYL

- *hand-marbled shells
- *hand-stamped blank OCard sleeves
- *limited edition of 50
- *shipping around release date (Oct 18, 2024)

EXTRACASSETTE

EXTRAVISION

Celestial Radiance

Before There Was A Moon

From A Melted Place

Wounded Healer

Pools Of Mercury

Arcturian Whispers

In Search Of The Miraculous

Piscese Moon

Arcturian Gamelan

Spiraling Down

Halcyon Revelations

Song Of Saturn

Extravision

Somewhere Unknown (Bonus)

<ul>
<li>*2LP black vinyl, art direction by Jeff Fribourg</li>
<li>*single wide-spine jacket, two graphic inner-sleeves</li>
<li>*shipping around release date (Oct 18, 2024)</li>
<li>*edition of 300</li>
</ul>

<ul>
<li>*hand-marbled shells</li>
<li>*hand-stamped blank OCard sleeves</li>
<li>*limited edition of 50</li>
<li>*shipping around release date (Oct 18, 2024)</li>
</ul>

<ul>
<li>MCPI Zine #1 - A clinician's mini-guide for working with a variety of esoteric musics in the context of psychedelic psychotherapy or journey work, by Matt Baldwin LMFT &#x26; Dr Mark Shortt</li>
</ul>

Zine

49 ALBUMS FOR MUSIC CENTERED PSYCHEDELIC INTEGRATION

Paige Emery is an artist, herbalist, and plant dreamer exploring ways of remembering the Earth. Her music practice is intertwined with visual and performance art, plant medicine and healing rituals, all of the expressions affecting one another. Paige’s previous musical work has been in the context of performing sound pieces for healing rituals within art installations and gardens to guide people through ecological journeys within a site-specific place.
Intercommunications grew out of the humble place of singing to plants in her garden every morning after she meditated with them. This morning ritual led her to finding a new relationship with voice and more-than-human language through offerings of sound. These songs were seeded from a daily practice of plant communication, language becoming deconstructed through the mixing of vocal layers and sounds of the environment, playing at the meeting place of harmony and chaos, life and death. The music integrates these expressions into electronic landscapes using only the same single keyboard Paige has had since she was an adolescent. Each song represents a pathway to and from communicating with plants, while the album as a whole serves as an arc through different states of being on a healing journey with their medicine - opening, sensing, letting, washing, waking, dancing, calling, following, swelling, enduring, decomposing, which in the end leads to another opening. These states of being are inspired by the continual cycles of nature that we can continue to learn from.

Paige Emery

Healing may not be linear, but it is quite often spiral-shaped. We wind round and round and round—approaching incrementally. Forever on the cusp of arriving. We set course for parts unknown only to find that we have inexplicably returned home. And now truths that once seemed obvious or commonplace strike us with a newfound profundity. One such truth reverberates throughout Paige Emery’s Intercommunications — “The body simply asks for love.” It is the concluding line of a spoken word invocation (part poetry, part hypnosis) on the album’s first track, the fittingly-titled “Opening.” Intercommunications explores the possibility of fulfilling this, the body’s ask for love, and the possible worlds that this fulfillment, this nourishment, might inaugurate.
<a href="https://paigeemery.com/" target="_blank" rel="noopener">Emery</a> is a Los Angeles-based healer and artist whose practice(s) include herbalism, painting, songcraft, performance, and so-called plant dreaming. Intercommunications functions as a record, but it is also a document of ritual and inquiry, a postcard from her ever-expanding cosmos. Its origins lie in the songs Emery would sing to her plants each morning. (Attention is the seed of love.) And though her singing may have begun as an offering to the plants, words and melodies lingered—the traces of a reciprocal creative relationship. The resulting collection, which begins with “Opening” and concludes with “Decomposing,” traces the cycle of corporeal life (whether the body be plant or human). This same cycle—birth, death, rebirth ad infinitum—corresponds to the trajectory of the healing journey (physical, spiritual) that Emery pursues through plant medicine.
As represented on Intercommunications, healing is recursive and not infrequently fraught. The potential for healing (a potential innate to all beings) is reassuring—joyous, even—but the process itself is winding. Which is to say that Intercommunications is an honest record. This is a healing of stretching, of rot and shedding. The woods are wondrous, dark, and deep, and uncertainty looms. “Calling,” with its eerie chimes and vocal echoes, transmutes the mystery of a bonfire in the distance. The final third of Intercommunications— a triptych comprised of “Swelling,” “Enduring,” and “Decomposing”— feels especially distinct as a movement. The music coils, undulates, and releases with a sigh. At which point we can return to “Opening.” It is morning, the birds are singing, and the journey begins again.
It is no small wonder that all of the music on Intercommunications was produced via a single keyboard, her companion instrument since adolescence. The richness and textural variation, the seemingly emergent syncopated rhythms that flicker into focus and propel the record forward, all are products of Emery’s keen attention to detail. Through meditation, magnification, and music alike we catch glimpses of the complexity guiding this world. A complexity so vast and graceful it approaches simplicity. Call this beauty or call this love. It is present.
-Emmett Shoemaker
<ul>
<li>Written and recorded by: Paige Emery</li>
<li>Mixed by: Briana Marela</li>
<li>Mastered by: Matthewdavid McQueen</li>
<li>Photography: Paloma Dooley</li>
</ul>

- now shipping
- includes medicinal plant harvested from Paige's garden w/companion plant ritual.
- limited edition of 100
- full-color 4panel JCard:
- photography by Paloma Dooley on front of JCard
- plant Painting by Paige on back of JCard
- layout by Phoebe Frances

Intercomm- unications

Opening

Sensing

Letting

Washing

Waking

Dancing

Calling

Following

Swelling

Enduring

Decomposing

<ul>
<li>now shipping</li>
<li>includes medicinal plant harvested from Paige's garden w/companion plant ritual.</li>
<li>limited edition of 100</li>
<li>full-color 4panel JCard:</li>
<li>photography by Paloma Dooley on front of JCard</li>
<li>plant Painting by Paige on back of JCard</li>
<li>layout by Phoebe Frances</li>
</ul>

<ul>
<li>Comfort Colors 1717 6.1 oz. Garment Dye Crew Neck</li>
<li>6-color silkscreen by Let Go Printing in Los Angeles</li>
<li>Shirt color Pepper</li>
<li>design by Jordan Rundle</li>
<li>*illustration by <a href="https://www.instagram.com/toitei_99/" target="_blank" rel="noopener">@toitei_99</a></li>
</ul>

SMALL

MEDIUM

LARGE

EXTRA LARGE

EXTRA EXTRA LARGE

All Genre Levitation Tee

<ul>
<li>Comfort Colors 1717 6.1 oz. Garment Dye Crew Neck</li>
<li>6-color silkscreen by Let Go Printing in Los Angeles</li>
<li>Shirt color Butter</li>
<li>design by Jordan Rundle</li>
</ul>

Extra Large

Extra Extra Large

All Genre Magic Door Tee

<ul>
<li>*Classic chino strapback cap.</li>
<li>*LR logo embroidery on front, philosophy on back.</li>
<li>*Classic LR Logo designed by Jesselisa Twine 2008.</li>
</ul>

Classic Logo Hat

<ul>
<li>*classic LR logo screen-printed on a black 120 Fruit of the Loom 3930 5 oz cotton tee in Los Angeles by Let Go Printing</li>
<li>*logo designed by LR cofounder Jesselisa Twine</li>
<li>*model <a href="https://www.instagram.com/seyaamusic/" target="_blank" rel="noopener">@seyaamusic</a></li>
<li>*photo by <a href="https://www.instagram.com/frythm/" target="_blank" rel="noopener">@frythm</a></li>
</ul>

Classic Black Logo Shirt

<ul>
<li>Tote &#x26; Bandana combo plate</li>
<li>15" x 16" flat tote - web handles, 100% heavy cotton canvas</li>
<li>22" 5-color screen printed natural banadana</li>
<li>printed by Let Go Printing in Los Angeles</li>
</ul>

TOTE & BANDANA

Nico Georis is a keyboard player, producer &#x26; songwriter from California. He produces music from his studio at Granny's Dancehall in a ghost town near Death Valley. His music, a unique amalgamation of global influences, presents an imposing total aesthetic that is all his own - at once bracingly psychedelic and achingly nostalgic.
Since childhood, Georis has always straddled (or, rather, negotiated) multiple dimensions, 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 chapters, persisted in his renegade and exploratory approach to music. He has dedicated his talents to songcraft, broadly-defined — channeling unseen (or inaugurating altogether new) worlds that morph seamlessly across genres.
His notable original music releases to date include:
(2018) Plant Music Vol. 1 - “Shirley Shirley Shirley!” 
An otherworldly document of his experiments in plant music, using midi technology to connect a variety of flora to analog synthesizers, letting their biodata create music that is strange and breathtaking. "A most magical and enthralling musical piece, a hypnotizing and dreamy indulgence for both the ears and the mind as well. Shirley Shirley Shirley! is one of the most interesting albums I've ever heard..." -sputnikmusic.com
(2022) Desert Mirror
"...a steamboat floating in the clouds from the echoes of thunder..." -Waltz Tokyo, Japan.
"...psychedelic soul piano tunes, celestial music..." -MatthewDavid, Leaving Records
(2022) A Rainbow In Curved Air // Music for Slot Machines
“Nico’s work is very impressive and the best take off on Rainbow I have heard. Obviously he went very deep into it and created something very special.” - Terry Riley
“Twinkling electronics and magical game bubbles to the max.” -KFJC 89.7 FM
(2023) Cloud Suites
“Trickling rainbow icicles floating on candy clouds” -KFJC 89.7 FM
“Layers of trickling, harp-like delicacy, music that is alive with peaceful purpose and made to float on.”
-Backseat Mafia
Upcoming releases include:
New EP, Music Belongs To The Universe coming in 2025 via Leaving Records. 
New single “Get Free” (featuring KB Brookins) for the new Red Hot Compilation Transa, out Nov 22nd.

Nico Georis

Experience the high strangeness of plant music—plants that “sing.” For years musician Nico Georis has used biofeedback instruments to
connect a variety of flora to analog synthesizers, letting their biodata
create music that is strange and existentially gorgeous.
Nico’s work in plant music happened during a six year span, and was
set in motion by a simple desire to find a fresh supply of long-form
ambient music for relaxing to at home. After a chance encounter with
an obscure technology dating back to the 70’s allowing plant
electricity 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 &#x26; I could make it.”
Here was an opportunity for another type of ambient music, one not
born of the human brain, to emerge. A music that moves beyond
human thought forms all together, and leans deeply into the green.
Culled from hundreds of plant songs recorded between 2016 - 2022
both at home and in the wild Plant Music Vol. 1 and 2 represent the
“greatest hits” of Nico’s plant music years.
Plant music Vol. 3 marks the newest installation, showcasing music
generated from psilocybin mushrooms, known by many as “Golden
Teachers”.
◯
"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.
These 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."
◄░░░░░░►
Nico Georis is a keyboard player, producer &#x26; songwriter from
California. 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.
<ul>
<li>Made with the help of Bob Otis and Lovelle Femme.</li>
<li>Special thanks to Matt Baldwin who helped conceive and organize this recording while also co-editing a few songs.</li>
<li>Cover photo by Matt Baldwin and Gabe Georis.</li>
<li>Artwork and layout by Victoria Stöcker.</li>
<li>Mastered by Will Smith.</li>
</ul>

- *now shipping
- *edition of 150
- *honey gold vinyl
- *includes artist interview info sheet
- *clear protective outer sleeve

- *now shipping
- *edition of 200
- *golden-tinted cassette shell
- *3-panel fold-out JCard

- *bundle edition of 50, includes vol.1-3 digital download
- *all three Nico Georis Plant Music volumes on vinyl:


- 2LP: Vol.1 - Shirley, Shirley Shirley! (runtime 73min)
includes Shirley's Temple zine.
- LP: Vol.2 - Creosote (runtime 30min)
includes loads of personal DIY craft touches from Nico:
a dried creosote sprig matted to the outside cover,
labels, stickers, stamps, etc.
- LP: Vol.3 - The Golden Teachers (runtime 34min)
honey gold vinyl, includes artist interview info sheet,
clear protective outer sleeve.

PLANT MUSIC VINYL BUNDLE

- *edition of 100 3CS bundles, includes vol.1-3 digital download
- *full-color printed slip-case housing
- tape1: Vol.1 - Shirley, Shirley Shirley! (runtime 73min)
- tape2: Vol.2 - Creosote (runtime 30min)
- tape3: Vol.3 - The Golden Teachers (runtime 34min)

PLANT MUSIC TAPE BUNDLE

Plant Music Vol.3 - The Golden Teachers

Breathing Hills

Sunstream

Mycelium Tub

Mind Gardens

Constellation

It's Ok To Die

<ul>
<li>*now shipping</li>
<li>*edition of 150</li>
<li>*honey gold vinyl</li>
<li>*includes artist interview info sheet</li>
<li>*clear protective outer sleeve</li>
</ul>

<ul>
<li>*now shipping</li>
<li>*edition of 200</li>
<li>*golden-tinted cassette shell</li>
<li>*3-panel fold-out JCard</li>
</ul>

<ul>
<li>
*bundle edition of 50, includes vol.1-3 digital download
</li>
<li>
*all three Nico Georis Plant Music volumes on vinyl:
</li>
<li>
2LP: Vol.1 - Shirley, Shirley Shirley! (runtime 73min)
includes Shirley's Temple zine.
</li>
<li>
LP: Vol.2 - Creosote (runtime 30min)
includes loads of personal DIY craft touches from Nico:
a dried creosote sprig matted to the outside cover,
labels, stickers, stamps, etc.
</li>
<li>
LP: Vol.3 - The Golden Teachers (runtime 34min)
honey gold vinyl, includes artist interview info sheet,
clear protective outer sleeve.
</li>
</ul>

<ul>
<li>*edition of 100 3CS bundles, includes vol.1-3 digital download</li>
<li>*full-color printed slip-case housing</li>
<li>tape1: Vol.1 - Shirley, Shirley Shirley! (runtime 73min)</li>
<li>tape2: Vol.2 - Creosote (runtime 30min)</li>
<li>tape3: Vol.3 - The Golden Teachers (runtime 34min)</li>
</ul>

Searcher of sounds Exploradore de sonidos afectos, espacios y tiempos en un loop siempre cambiante.
Searcher of sounds affects, spaces and time in an ever-changing loop.
Listening as a tool to tune in with the environment around us in pursuit of possible worlds of coexistence and collaboration between all vibrant matter. less

Sonic 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.
Hailing from Argentina, QOA (Nina Corti) is a musician and sound artist who seeks to remedy this aural dysbiosis.
SAUCO 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.
Perhaps 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)?
Rootedness, 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.
They 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 seeks 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 supplemental 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.
We 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.

- *now shipping
- *poly-lined paper innersleeve
- *black 12" vinyl
- *digital download emailed upon purchase

- *now shipping
- *an Argentine sueño shimmers through your tape deck
- *tape design by qoa
- *digital download emailed upon purchase