Sam Gendel is known for his work with saxophones and wind controllers. Benny Bock is a keyboardist, composer, producer and sound designer from Oakland, California. Hans Kjorstad is a musician and composer in the field of contemporary microtonal music, informed by Norwegian traditional music and experimental improvised music.

Sam Gendel, Benny Bock, Hans Kjorstad

*Sam Gendel is known for his work with saxophones and wind controllers. Benny Bock is a keyboardist, composer, producer and sound designer from Oakland, California. Hans Kjorstad is a musician and composer in the field of contemporary microtonal music, informed by Norwegian traditional music and experimental improvised music.
<ul>
<li>Gendel - wind controller &#x26; soprano saxophone</li>
<li>Bock - udo synthesizer</li>
<li>Kjorstad - violin</li>
<li>Recorded in Japan</li>
<li>Mastered by Matthewdavid</li>
</ul>

- edition of 100
- shipping around release date
- includes digital download (we email it to you)

RED VINYL

- shipping around release date
- includes digital download (we email it to you)

BLACK VINYL

- edition of 300
- shipping early October 2024
- includes digital download (we email it to you)

CASSETTE

Dream Trio

Angel's Egg

Legend of the Ohmu

FallsLake

Ten Dreams

I See Signs Everywhere

India

Charango

Susto

Str8 Out A Swamp

Everything Happens To Me

<ul>
<li>edition of 100</li>
<li>shipping around release date</li>
<li>includes digital download (we email it to you)</li>
</ul>

<ul>
<li>shipping around release date</li>
<li>includes digital download (we email it to you)</li>
</ul>

<ul>
<li>edition of 300</li>
<li>shipping early October 2024</li>
<li>includes digital download (we email it to you)</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>

- *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 designed by Studio Ampersands, photography by Max Blomfield
- *ships on/near release date, digital download emailed

VINYL

- *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>*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 designed by Studio Ampersands, photography by Max Blomfield</li>
<li>*ships on/near release date, digital download emailed</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>

<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

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>

<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)

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>*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)

Francesca Heart is a musician, dancer and researcher with volcanic and marine origins in Southern Italy. She's currently exploring computer music as a means of incantation.

Francesca Heart

‘Sphinx Nouvelle’ (A New Sphinx, A Sphinx Tale) is Francesca Heart’s fourth solo album following LP Bird Bath. After different musical works dedicated to mercurial underwater epics, electrical biomass sagas, moist demigoddesses’ grottoes, labyrinthine gardens and somber yet alluring feminine muses, the artist crafts ten new tracks inspired by aerial architectures, legendary superhuman creatures and music as the key to open magic portals.
Produced between Thailand, Italy and Mallorca, and thus reflective of the geographic collages offered by memory and experience, the work’s sibylline title opens up two layers touching upon both the imaginative and emotional growth of the Italian artist. While on one level the tracks non-narratively delineate the hazy story of a sphinx figure unfurling and fleshing out as the musical compositions progress, a second perspective sheds light on how Heart’s expression and explorations have matured generating new ways to empowerment from within the field of musical playfulness and creative intuition.
Informed by speculative mythologies offered by hidden earthly geographies such as Atlantis and Lemuria, Heart crafts a new powerful adventure by dwelling on how promethean real-life projects such as the Qatar Raffle Doha and Fairmont Hotels (the Katara Towers) could be reinterpreted as molochian present-day results of human imagination. Empires of artificial waters that challenge the limits of the possible. These monumental entities are treated as fictional objects becoming important encounters on the Sphinx's journey, through which Heart blurs the lines between reality and fantasy.
In A Sphinx Nouvelle sound and music are a cocooning background vessel for a vague cinema for the ear; a moving image playing in the theater of the listeners’ mind. As the aesthetic feeling emanating from the album confirms, once again we are not in front of a world built by adult power fantasies. By casting these real-life architectural visions into the background of pop culture’s productions like movies Magic In The Mirror, The Abyss and Nadia The Secret Of Blue Water, Sphynx Nouvelle lets us look at architectures, stories and mythologies with a kaleidoscopic mind.
Mixing real and fictive histories, worlds and dimensions collide and superimpose like mirages of seashore mists and waterspouts. In the album, the character itself, a mythical anthropozoomorphic creature-monument defies conventional narrative expectations and categorisations, hence becoming the passage to weave together different dimensions and sonic territories. Despite still consistently resorting to soft synth lines and the organic acoustic timbres of marimbas and bells, differently from previous albums, percussive arpeggios and angular melodies feel more pronounced, making the ten tracks the most dynamic and uptempo productions in the artist’s discography. Despite maintaining most of her musical tropes - multivocal synth progressions as counterpoints of singing creatures, lullaby-inspired pentatonic harmonies and pads filtered through the noise of waves crashing ashore or the filters of underwater listening - the moonlight tide ambiences and sonatas feels like a background on which more stable rhythmical explorations take over to reveal subtle but galvanizing outbursts of musical energy. New age meets seapunk and shoegaze. A dive into a hallucinatory expedition on winged eyes leads to a primordial space via the call of the conch shell.
Finally, for the last, bonus track ‘aquatic passages’, Heart invites US artist Splash Blade, master of liquid-alchemical digi-ambient to contribute with a soft oceanic DnB ode congratulating the adventurer for enduring much trouble and completing their journey; Sweet ending titles for such a deep dive into Francesca Heart’s inebriating worldbuilding.
Overall, this album is a tender awakening siren for all beings and types of matter. It’s a message for you, whether you’re an aquatic mammal, a sphynx, a coral, a mineral formation and, why not, even a human.
Credits
<ul>
<li>
All music written, produced and recorded by Francesca Heart
</li>
<li>
<ol start="3">
<li>‘Essence Nouvelle’ Conch Shell by Francesca Heart</li>
</ol>
</li>
<li>
<ol start="4">
<li>In Alto Mare (Loredana Bertè Cover)</li>
</ol>
</li>
<li>
<ol start="10">
<li>BONUS TRACK ‘Water Passages’ Produced by Splash Blade</li>
</ol>
</li>
<li>
Cover Art Serena Scozzafava
</li>
<li>
Liner Notes Luigi Monteanni
</li>
<li>
Mixing Francesca Mariano
</li>
<li>
Mastering Polonius
</li>
<li>
Photography Matteo Strocchia, Marco Servina
</li>
<li>
Recorded between January and June 2024 in Thailand, Italy and Mallorca
</li>
</ul>

Sphinx Nouvelle

Lemuria Shore Party

Sphinx Millenium Bubble Wrap

Essence Nouvelle

In Alto Mare

Interlude (MK Vanity Set)

Pegasus Revolution

Square Meter Mania

If the moon isn’t evil then why

Afterlife

BONUS TRACK Water Passages prod. by Splash Blade

<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>
tp Dutchkiss is the solo moniker of LA-based producer Spencer Hartling. His debut full-length, high functioning, out now on Leaving Records, is a probing eleven-track collection teetering between jittery beats and experimental songwriting. Imaginatively high-functioning, but also just functioning while high, it turns to an array of unorthodox recording techniques to build melody into the very structures of dance music it straddles. high functioning works it all out, breaking through to a new place of earnestness.
</li>
<li>
Though technically presenting a first effort, Hartling is no beginner. Owner and operator of Wiggle World recording studio, tape loop experimentalist and co-author of zine Show Invisibles, or How to Make a Tape Loop, his solo live performances are workshops in improv ambient and dubbed out, forward-thinking hardware play. A member of “rock” band Harry the Nightgown, the fledgling experimentalist thrives in collaboration, having lent his chops to ventures with artists like Colloboh, Cherry Glazerr, Ohr and Qu’ran Shaheed.
</li>
</ul>

tp dutchkiss

*release date Oct25 2024
<a href="https://www.instagram.com/tp.dutchkiss/" target="_blank" rel="noopener">tp Dutchkiss </a>is the solo moniker of LA-based producer Spencer Hartling. His debut full-length, high functioning, out now on Leaving Records, is a probing eleven-track collection teetering between jittery beats and experimental songwriting. Imaginatively high-functioning, but also just functioning while high, it turns to an array of unorthodox recording techniques to build melody into the very structures of dance music it straddles. high functioning works it all out, breaking through to a new place of earnestness.
Though technically presenting a first effort, Hartling is no beginner. Owner and operator of <a href="https://www.instagram.com/wiggleworldwide/" target="_blank" rel="noopener">Wiggle World recording studio</a>, tape loop experimentalist and co-author of zine <a href="https://leavingrecords.com/show-invisibles-or-how-to-make-a-tape-loop" target="_blank" rel="noopener">Show Invisibles, or How to Make a Tape Loop,</a> his solo live performances are workshops in improv ambient and dubbed out, forward-thinking hardware play. A member of “rock” band Harry the Nightgown, the fledgling experimentalist thrives in collaboration, having lent his chops to ventures with artists like Colloboh, Cherry Glazerr, Ohr and Qu’ran Shaheed.
high functioning itself wasn’t born in isolation. Conceived and recorded not only in Hartling’s home city of Los Angeles, but crucially also on the road across the world, in Lithuania and on the Mediterranean, its protean sounds feel like notes to people far and near – buzzed, maximalist, often touching, especially when less than clear-headed.
And yet, high functioning is also a showcase for Hartling’s unique approach to songwriting. Not quite cocooned in the collection’s jagged soundscapes, the emphasis on harmony at its core emanates outward, shining through melody-carrying bass chord changes and halting arrangements. It is more a form of illumination than of lucidity: high functioning’s compositions may jerk and flutter, as analog gear and glitching drum machines grind and warble into each other, but they reveal a loving care for melody that is irregular to the straighter genres the record inhabits.
Rooted in Hartling’s years of sound-first experimentation, high functioning’s upper-downer, unorthodoxly pop-driven take on dance music is never too intelligent for its own good. As it starts, stops and pivots over and over, it makes way for what much music of similar ilk doesn’t get to express: an almost vulnerable intimacy, “sweet like everything.” Alexa, bump up the warm jets.
<ul>
<li>
All Tracks Written, Recorded, and Mixed by Spencer Hartling aka tp Dutchkiss at Wiggle World in Altadena, Ca
</li>
<li>
Track 3 Recorded &#x26; Mixed by Spencer Hartling &#x26; James Riotto at Altamira Sound in Alhambra, Ca
</li>
<li>
Mastered by Mike Nolte at Eureka Mastering in Portland, Or
</li>
<li>
Takoda - Vocoder &#x26; Guitar on Tracks 1 &#x26; 9
</li>
<li>
Andrew Chanover - Drums on Tracks 1, 6, 9
</li>
<li>
Jahsh Banks - Vocals on Track 2
</li>
<li>
James Riotto - Synth, Piano, Bass, Drum Programming On Tracks 2 &#x26; 3
</li>
<li>
Dub Mix on Track 3
</li>
<li>
Sami Perez - Vocals that got sampled everywhere
</li>
<li>
Luke Macdonald - Synth on Tracks 6 &#x26; 8
</li>
<li>
Ugne Uma - Vocals on Track 3
</li>
<li>
Laura Friedman - Vocals on Track 5
</li>
<li>
Andrea Schievelli - Piano on Track 4
</li>
<li>
Mike Stein - Guitar on Tracks 7 &#x26; 11
</li>
<li>
Antonio Lenzo - bio writing
</li>
<li>
Album Art by Sky Morgan
</li>
</ul>

- *shipping around release date
- *edition of 150
- *digital download emailed upon purchase

high functioning

Infinite Choice

Bumble Bee

Song for Ugne

Dre's Staircase

Clouds Made of Rubber Gloves

Short Buff Building

Nervous Breakdown

Alexa, Bump Up the Warm Jets

Reintegration

Grain Arp Roadway

Secret Shopper

<ul>
<li>*shipping around release date</li>
<li>*edition of 150</li>
<li>*digital download emailed upon purchase</li>
</ul>

<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

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>

Time Wharp

<ul>
<li>
Spiro World (or One Must First Become Aware Of The Body) is the definitive Time Wharp full-length coming of age collection. Unhinged to any particular music scene, Spiro’s (in reference to prescription drug spironolactone) unabashed yet vulnerable all genre album story by its Brooklyn-based artist Kaye Loggins describes somatically profound personal experiences of derealization, the endocrinological mixolydian heaven &#x26; pharma hell on earth, and love letters to New York.
</li>
<li>
Imagining and creating futures can be frightening, joyous, difficult, effortless, inevitable.
</li>
<li>
MEDICARE FOR ALL NOW
</li>
<li>
Recorded in New York, New York at Home, Mozart Street Studio, and Plantain Recording House.
</li>
<li>
All tracks written and recorded by Kaye Loggins.
</li>
<li>
Jasper Dutz - woodwinds
</li>
<li>
Nina Keith - cello, additional electronics
</li>
<li>
Will Shore - marimba
</li>
<li>
additional engineering by Ryan Howe &#x26; Matt Shaw
</li>
<li>
mastered by Daddy Kev
</li>
<li>
photo by Nick Brinley
</li>
</ul>

- now shipping
- opaque silver vinyl
- limited edition of 100 units

SILVER VINYL

- now shipping
- black 12" vinyl
- photography Nick Brinley
- layout Kaye Loggins

- *now shipping
- *2nd edition of 300
- *cassette-only bonus track "Medicare For All"

Spiro World

East River Dusk

Lupron

TOTP

Mixo World

No Furniture/Tanagra

Tezeta

Delay I

<ul>
<li>now shipping</li>
<li>opaque silver vinyl</li>
<li>limited edition of 100 units</li>
</ul>

<ul>
<li>now shipping</li>
<li>black 12" vinyl</li>
<li>photography Nick Brinley</li>
<li>layout Kaye Loggins</li>
</ul>

<ul>
<li>*now shipping</li>
<li>*2nd edition of 300</li>
<li>*cassette-only bonus track "Medicare For All"</li>
</ul>

<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

LARAAJI

Originally compiled &#x26; released in 2015 by Leaving Records &#x26; 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.
1978’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.
Originally, 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.'”
Available 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.”

- now shipping
- includes three archival cassettes & bumper sticker
- cassettes housed in orange sleeve w/gold foil text from Laraaji

- *Unicorns In Paradise 1981 CS
- *Lotus Collage 1979 CS
- *Trance Celestial / Connecting With The Inner Healer Through Music 1983 CS
- *LIVE LAUGH LOVE LARAAJI bumper sticker by Christopher DeLoach

3CS + STICKER

All In One Peace

Unicorns In Paradise (Side A)

Unicorns In Paradise (Side B)

Lotus Collage (Side A)

Lotus Collage (Side B)

Trance Celestial - Movement 1

Trance Celestial - Movement 2

Trance Celestial - Movement 3

Trance Celestial - Movement 4

Trance Celestial - Movement 5

Connecting with the Inner Healer Through Music (A Transmission of Musical Verbal Information)

<ul>
<li>
now shipping
</li>
<li>
includes three archival cassettes &#x26; bumper sticker
</li>
<li>
cassettes housed in orange sleeve w/gold foil text from Laraaji
</li>
<li>
*Unicorns In Paradise 1981 CS
</li>
<li>
*Lotus Collage 1979 CS
</li>
<li>
*Trance Celestial / Connecting With The Inner Healer Through Music 1983 CS
</li>
<li>
*LIVE LAUGH LOVE LARAAJI bumper sticker by Christopher DeLoach
</li>
</ul>

Sam Gendel & Sam Wilkes

<ul>
<li>
The Doober releases on Leaving Records May 1 2024
</li>
<li>
Gendel on C-Melody Saxofone and Wilkes on Fender P-Bass
</li>
<li>
arrangements of selected material and original compositions
</li>
<li>
a document of specific variations in instrumentation, sound, and repertoire, with a focus on melody, execution of arrangement, and total freedom
</li>
<li>
The Doober follows the release of Music for Saxofone &#x26; Bass Guitar (2018) and Music for Saxofone &#x26; Bass Guitar More Songs (2021).
</li>
</ul>
*performed recorded mixed and produced by Sam Gendel + Sam Wilkes, mastered by Matthewdavid McQueen, recorded on location in Japan and Los Angeles 2022-2023, photography Marcella Cytrynowicz, recording engineer on tracks 2,3,4,5,7,8,11 Yukihito Endo, additional mastering on "SWEET FIRE" by Joey Genetti.

- *estimated shipping May / June 2024
- *tip-on jacket
- *black 12" vinyl
- *design by Sam Gendel & Sam Wilkes

- *shipping begins May 2024
- *black shell, sticker label
- *design by Sam Gendel & Sam Wilkes

THE DOOBER

CIRCLE

GBTC

RUGGED ROAD

BEN HUR

TOMBO

THE CIRCLE GAME

THE EDGE

BOA 2

TOMORROW NEVER DIES

SWEET FIRE

MILTON SUITE

<ul>
<li>*estimated shipping May / June 2024</li>
<li>*tip-on jacket</li>
<li>*black 12" vinyl</li>
<li>*design by Sam Gendel &#x26; Sam Wilkes</li>
</ul>

<ul>
<li>*shipping begins May 2024</li>
<li>*black shell, sticker label</li>
<li>*design by Sam Gendel &#x26; Sam Wilkes</li>
</ul>

<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>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>