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A globetrotter in the most pure and respectful sense, away from the trappings of neo-colonialist ventures and predatory tourism, Discrepant head honcho Gonçalo F. Cardoso returns to his Island impression series to offers us another glimpse of his deep, abstract impressions of (an)other island. After passionately collecting the sounds and lives inhabiting the main Island of Zanzibar, Unguja, released through Edições CN back in 2018, Cardoso now dwells into the Malaysian heartbeat of the Borneo forest through Island recordings made during a trip in 2016. Assembled in situ with meticulous craft from portable recorders, samplers and battery powered synths, these nice recollections conjure the spirits that lurk behind the inhabitable and the communal that are as much part of a personal memoir as an impressionistic portrait open to new meanings. Focused compositions that flow organically, bending the environment in & out of shape into a new dreamlike exotica with plenty of breathing room for every detail, silence and movement to surface. A particular moment suspended in time, haunted perpetually by its bygone existence. Something no postcard or photograph could ever, ever come even close to.

This is a remix of the album released in 2019 on Wharf Cat Records, a prestigious label that has been home to many of the indie world's heretics, including Blanche Blanche, The Ukiah Drag, and Horoscope. The album is a remix of the 2019 album from Wharf Cat Records, a label with a long list of indie outliers, including Zaliva-D, Simon Frank, and Howie Lee (also from Beijing), Shanghai's Knopha, who released Nothing Nil on Eating Music, and Taiwan's Scattered Purgatory. and the Taiwanese Scattered Purgatory. This is the perfect introduction to the Chinese underground.

The Swedish quartet Goran Kajfeš Tropiques share their new music We Jazz Records on May 3rd. Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner. The Tropiques quartet consists of Goran Kajfeš (trumpet, synthesizer), Alexander Zethson (piano, organ, synthesizer), Johan Berthling (acoustic bass) and Johan Holmegard (drums) – each a key member in the Swedish creative music scene, with experience from groups such as Dungen, Ghosted, Fire!, Gard Nilssen's Supersonic Orchestra, Oddjob, plus many more, including Goran Kajfeš's own Suptropic Arkestra. Their music, groove based and connected to the tradition of "minimalism" has at times been called "hypno-jazz". Tropiques initially came together in 2011 when Kajfeš was commissioned to compose and perform music to a performance by the Swedish modern dance company Vindhäxor. Since then, the group has evolved in its own ways and independently from, yet informed by, their origins. That is, the experience of creating music together with a strong sense of movement. All three compositions on Tell Us expand on what the Tropiques have done before, building around their signature style and its spacey texture and rooting the musical narrative in strong melody, rolling groove and their collective limitless urge for sonic exploration. As the opener "Unity In Diversity" goes to show, Tropiques's compositions are like flowers opening slowly, each element and layer growing out of what has come before, in a constantly surprising manner. This music, then, becomes the perfect antidote for the quick-fix eye candy rolling down your smartphone screen. This music will take its time, but it'll also create new dimensions with each second as it unfolds. RIYL: Alice Coltrane, Terry Riley, Steve Reich, Pharoah Sanders, Laraaji, "Crescent" era John Coltrane, Swedish psychedelic music, "Kosmische Musik"

Alvin Lucier、David Behrman、Robert AshleyThe world's earliest pioneering experimental music collective led by"Sonic Arts Union"Don of the US experiment / electronic music world, who is also well known for his activities inGordon Mumma.. A large collection of avant-garde music in the country <Lovely Music>from2000A compilation album full of important sound sources released in the year. Famous as a masterpiece79From year first"The Dresden Interleaf 13 February 1945"、"Music From The Venezia Space Theater"、 86Year"Mesa / Pontpoint / Fwyyn"of"Pontpoint"Etc. all6The definitive edition containing songs. 

//"How long has that been there?"// //"What importance has it lost? Gained? When? Why?"// //"What has occurred here?"// //"..And before that?"//

A cloud based rehabilitation center for internet runaways and the socially inept. A dial-up haven for the troubled and angsty. Being the character. Modify the template to suit your style*. You can make your own puzzles. Your* space. Shoot for the moon. Shoot the moons.

“All of humanity's problems stem from man's inability to sit quietly in a room alone.” —Pascal Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001)—recorded between Folkestone and Miami—Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter. If it ain’t broke don’t fix it.

“All of humanity's problems stem from man's inability to sit quietly in a room alone.” —Pascal Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001)—recorded between Folkestone and Miami—Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter. If it ain’t broke don’t fix it.

Came to Call Mine is an extensive full-color art book by visionary musician, artist, and writer Graham Lambkin. Playing out like a children’s book for adults, Came to Call Mine features 50 hand-drawn illustrations coupled with simplistic corresponding texts. Lambkin’s mischievous combination of figurative and abstract elements lends Came to Call Mine a jarring, dreamlike quality, confusing the eye by placing innocent childlike totems against a darker adult undercurrent.

Came to Call Mine is released as a deluxe softcover book designed by Maja Larsson, with lithograph printing on Munken pure rough, lynx, and polar paper stock in an edition of 400 copies.

Selections from Graham Lambkin’s new book Came to Call Mine (Penultimate Press, 2014)

When the world's chatter is hushed to a whisper and emptiness replaces clutter, time falls away completely, exposing a vast, open canvas for the imagination fill with reflection, contemplation and abstraction. On their first collaborative album, released via Caterina Barbieri's light-years label, Grand River and Abul Mogard gaze longingly into the abyss, capturing atemporality, splendour and tranquility with confident, impressionistic sonic strokes. Dynamic and poignant, 'In uno spazio immenso' balances on a knife-edge between booming, operatic grandeur and soft-focus simplicity, casting as much light on the subtle outlines and illusory rhythms as it does its dense, almost overpowering textures. Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, has been evolving her unique musical language since she released 'Crescente' on Donato Dozzy and Neel's Spazio Disponibile imprint in 2017. A trained linguist, she uses her instrumentation and advanced processes to challenge cultural perceptions, portraying emotions and moods rather than fixed, visual images. Abul Mogard meanwhile is just one of veteran Italian producer Guido Zen's many aliases, and over a series of acclaimed albums for labels like Ecstatic, Houndstooth and VCO, he's muddled fiction with stark reality, shaking kosmische synth fantasies into post-industrial ambience and blissful shoegaze memories. Working together, Portioli and Zen find unity in intensity, freezing their discrete concepts and techniques into a glacial emotional expanse. On opening track 'Dissolvi', they peer out hand-in-hand over a colossal, reverberant landscape, conducting booming basses, evaporating voices and brassy synthetic swells that pick out the formidable topography. Beatless but not without rhythm, the composition moves at its own pace, twisting time and form to suggest the duo's obliquely hypnagogic narrative. And with each action, there's inevitably a reaction: 'Frantumi di luce' is a hushed refraction that simmers with intrigue, decorating its subtle, flickering pulse and dazzling rays of thoughtful ambience, while 'Altrove, lontano' transports listeners into a different locale entirely, cloistering its meditative mood with angelic choral echoes and evocative strings. The album's most devastating track, 'Archi' is an apex of sorts, a collision of widescreen electroid oscillations and overdriven drones that careens into a grinding industrial beat, and 'Sulle barcane' is its serene inverse, a breathy exhalation fashioned from cryptic environmental recordings, static washes and weightless pads. But 'In uno spazio immenso' isn't a story about Portioli and Zen, exactly, it's an invitation to listen to an inner voice that's different for each listener. Space is whatever we want it to be, and how we decide to fill it is a choice that's dependent on the depth of the imagination.

The 3rd NYE at Winterland (2nd that was taped) is known for having the first Big River and Chinatown Shuffle, as well as the last Dancin' (until '76). Same Thing hadn't been played since '67 and this was the last Pigpen version, Bobby taking it up again 20 years later. This is also the first show with Donna, though she's not a big presence. She would officially join at the upcoming Academy shows.

Tracklist:
 
Dancing In The Streets
Loser China Cat Sunflower
I Know You Rider
Brown-Eyed Woman
Sugar Magnolia
Sunshine Daydream
Not Fade Away
Going Down
The Road Feeling Bad 

This double album retrieves a radio broadcast of the Grateful Dead dated 1970. The title refers to a concert in San Diego, California, without giving further indications: what is certain is that the repertoire includes some songs recorded for 'Workingman's Dead' (' Dire Wolf ',' Black Peter ', outtake' Mason's Children ') released in June of that year as well as covers of Otis Redding's' Hard To Handle', Rascals' 'Good Lovin' 'and Buddy Holly 'Not Fade Away', to country and western 'Me and My Uncle', to traditional 'Cold, Rain and Snow', 'I Know You Rider' and 'Goin' Down The Road Feeling Bad’ , framed by numerous jams.

No. 7 on Rolling Stone's list of the 50 greatest live albums of all time. The Grateful Dead's quintessential live energy exploded on this classic album released in 1969.

For a legacy filled with legendary performances, the Grateful Dead Live at the Great American Music Hall in San Francisco on August 13th 1975 stands out. The band only played 4 shows during that entire year! (Remarkable for a band that toured non-stop for decades) and at their August 13th show, they rolled multi-track tape (which allowed for the band decades later to properly mix the show). Because the Great American Music Hall holds less than 1,000 people (another unique thing about this show), it was an invitation only performance in which the band debuted their recent studio album Blues For Allah in a live setting. Although One From The Vault has been available on CD nearly continuously since 1991, the vinyl version was only available for less than a year (and in Europe only) in the early 1990’s. This deluxe vinyl reissue marks the first time this legendary show has been available anywhere in over 20 years and the first time in America.

Following on the heels of Light In The Attic’s vinyl LP release of One and Two From The Vault comes the final release in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman’s Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night–all of which went on to become Dead “standards” including “Playing in the Band,” “Greatest Story Ever Told,” and two absolute classics: “Bird Song” and “Deal.” Essential Dead.

Grateful Dead played an extended set on Saturday night at Woodstock. Introduced by their friend Ken Babbs, the band took off with “Saint Stephen,” a song from their classic Aoxomoxoa album. A major shock to rhythm guitarist Bob Weir (the result of touching his ungrounded microphone and guitar at the same time) blew the power out momentarily, ensuring that the second verse of the song was not captured by either the film or audio recording. Perhaps it was this shock that forced the band to abandon the song halfway through, ducking into a cover of Merle Haggard’s “Mama Tried” instead.

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. To call this pair’s brand of country-rock détournement “cosmic” would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-Coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of “band’s bands” like Pigeons (Soft Abuse), No-Neck Blues Band (Revenant, Locust), Rhyton (Thrill Jockey), and The Suntanama (Drag City), freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector’s-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary’s Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs “urban cowboy” and finger-picked primitivism. A string of cryptic appearances soon followed, including a short-lived residency at a now-shuttered vodka dive; a micro-tour with Coloradan songstress Josephine Foster; and a series of backyard and barroom gigs sharing stages with compatriots like Stella Kola, Blues Ambush, Samara Lubelski, and Wednesday Knudsen. Heels in the Aisle is the slipshod, burnt-out, mid-’70s unter-prog comedown to their debut’s backwoods, bushy-tailed, early-’70s, country-rock meanderings—expect more unrestrained riffs, artful studio wizardry, and worn-down introspection. Joining the ranks of bloodshot-eyed, blues-rock medleys à la Canned Heat’s “Parthenogenesis” and Grand Funk’s “Into The Sun,” “The SDSPS” is the nearly side-length opening cut, an expanded song-cycle condensing and riffing on the themes of their debut. “Help Me” ventriloquizes Pomona College outlaw Kris Kristofferson’s slow-roaring ballad of libidinal woe. On the flip side, “Verrazano Tile” and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune “Guabi Guabi” is a bright Dead/Feat-like jaunt with blissed-out wah-wah pay-off. “Gaslight Boulevard” is lean, mean, and eight-beers-in space rock, and the closing track “Kekule’s Ring” is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie’s Oil of Every Pearl's Un-Insides). For fans of Meat Puppets, Ronnie Milsap, Traffic’s John Barleycorn Must Die, the oceanic ebullience of the sacred, and the salty tang of the profane.

Lolina’s Relaxin Records serve proper synth-pop peaches from London’s fuzzy underbelly by the mysterious Great Area, set to pique attentions of Bar Italia, Broadcast, Carla Dal Forno, Victor De Roo or Susu Laroche fans... Puckered with instantly memorable hooks and subtly shimmering with micro-dosed textures, ‘Follow Your Nature’ is one for connoisseurs of lokey pop with a contemporary but knowingly retro slant. Indicative of a wider subculture that’s back-pedalling into the present future, Great Area’s 2nd album follows introductions made on the xquisite releases label in ’21, and a song on the Left Alone label’s compilation ‘Everything Was Supposed to Be So Easy’ with their most substantial - if exactingly succinct - suite of songs for modern dreamers and pop music cherry-pickers. With no one song ever outstaying its welcome, the elegant effortlessness of ‘Follow Your Nature’ betrays a mind for fine-tuned songwriting under the hood. Classic synth-pop levels of efficiency are evident on every tune, with the cantering title song measuring distance between The Raincoats, Broadcast, and Carla Dal Forno via uncanny traces of smeared electronics, and ‘everytime’ recalling the off-the-cuff style of Relaxin Records’ label boss Alina Astrova (aka Hype Williams’ Inga Copland) as much as Bar Italia’s baroque indie pop or the new-old lustre of Victor De Roo’s Kontakt Group delicacies. One listen to the loping goth-pop jangle of ‘so very’ or the wrong-end-of-telescope grand sashay to ‘dust’ and the Eastern-facing ’shipping’ will either have you properly snagged or shrugging, there’s no mid ground.

In an era of rampant, man-made climate chaos, “solastalgia” (the longing and distress experienced by individuals as a response to environmental change/degradation) has emerged as a useful, semi-viral concept — a catch-all term for the pervasive sense that the world as we know it is far from well, and only growing less so. But, for many of us, a problem, a trap, an ineffable hollowness, exists at the very crux of this concept/premise: how can we mourn (or even sense the loss of) that which we have never known? Especially for lifelong urbanites estranged from nature, who nevertheless grasp the severity and complexity of the problem—how might they remember? How might they mourn? Perhaps indirectly—that is to say, in an exploratory and non-dogmatic fashion—Green-House, a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan, seeks to address this gap in understanding. Six Songs for Invisible Gardens, the debut Green-House EP whose 2020 release coincided with the depths of Covid-19 “lockdown,” responded to the rampant heartsickness of human and plant life, especially in non-rural areas. The packaging of the cassette release famously included wildflower seeds for the listener to scatter. This gesture (at once simple and daring, especially when one considers the logistical element) exists as testament to the sincerity and seriousness of Ardizoni’s convictions. Music for Living Spaces, the first full-length Green-House LP, followed in 2021— a refinement of the formula that enshrined Six Songs as a cult, eco-ambient hit. Out October 13, 2023 on Leaving Records, they have returned with the LP A Host For All Kinds of Life, a third entry in a series of releases whose titles have incidentally all revolved around the “for” construction: an unofficial canon of offerings, or maybe rather instructions as to how the music contained therein might, could, and should operate in/on the listener’s life and “living space(s).” Decidedly the most expansive Green-House release — one need only consider the LP’s title and the kaleidoscopic, fractal cover art designed by Flanagan—A Host For All Kinds of Life troubles the very notion of “ambient music,” a category with whom Green-House has always existed in some degree of tension. What if a song’s seeming softness constitutes its biting edge? What if easeful, contemplative pleasure can radically alter our mindset? Our very role as worldly subjects? Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biological mutualism (associations between species in which both species benefit), A Host For All Kinds of Life is a deeply entrenched and politically grounded song suite. And there are indeed discrete songs here, with defined structure, momentum, and sway; see the gilded, sixties-evoking melodic arabesque of the record’s ninth and penultimate track, “Everything is Okay” (which incidentally ends with the release’s only human voice—a tender message left for Ardizoni by their mother). In conversation, Ardizoni speaks often of the centrality of joy—that Green-House’s very existence can be traced to a conscious decision they made to not only choose joy as an act of rebellion, but to find that joy in whatever plant life they could access in their immediate environment. In this sense, all of Green-House’s releases (and A Host for All Kinds of Life especially) embody a radicality that may elude the casual or first-time listener. To choose, model, and express joy in an ailing world requires courage, a courage that must be jealously guarded and constantly replenished. A Host For all Kinds of Life encourages the listener to slow down, take stock, tune in to the more-than-human world around them, and gather their courage and joy in light of the uncertainty to come.

Leaving Records presents Music For Living Spaces, the debut LP by non-binary Los Angeles-based artist Green-House. Olive Ardizoni helms the project, which made its debut with the charming 2019 EP Six Songs for Invisible Gardens. Music for Living Spaces represents an evolution of its predecessor’s minimalist compositions into songs that move with winsome melodies and emotional arcs. Though recorded during a pandemic, the transporting nature of Music For Livings Spaces offers a remedy for dreariness. Ardizoni states, “I’m trying to hit that part of the brain that’s affected by the emotional state that you’re in when you perceive something as cute.” 
 
Music For Living Spaces' first single “Sunflower Dance” sports a breezy, bucolic vibe. The track is intended to invoke the whimsical image of hamsters happily dancing in a field. Ardizoni brings an intentionality to these playful atmospheres. They state, “In our culture, we prioritize profound artistic expression through emotions like sadness or aggression, but cuteness, silliness or fun, are the things that we trivialize in our culture. We say that they’re childish and it gets invalidated.” The complex and radiant productions on Music for Living Spaces counter this view. Ardizoni continues, “Cuteness and joy are gateways to compassion. It’s the gateway to empathy and activating the network in your brain that boosts moral concern for other people in the world around you.” Despite its general sunniness, Music For Living Spaces does not solely rely on exuberant, colorful moods. “Royal Fern” is a sophisticated composition of voices calling and responding to each other in rippling waves, while towards the closing of the album we hear Ardizoni’s ethereal voice for the first time that carries a nuanced, contemplative aura that defies categorization. 
 
Music For Living Spaces is a step forward for Green-House. Ardizoni states, “The intention of this project is to facilitate the connection between humans and nature. Instead of perceiving nature as something that's separate from us, or outside of our homes, we can recognize nature as something that is within us and in everything we do in our daily lives. You don't need to have access to the great outdoors to feel connected to the environment.”

A must-have for fans of Japanese environmental music such as Hiroshi Yoshimura, Satoshi Ashikawa and Yutaka Hirose! Organic new age music that is swallowed by the beauty of nature that sways gracefully! Leaving Records is proud to present the debut EP by Green-House, a project by local artist Olive Ardizon. "The six tracks are based on the concept of "communication between plant life and the people who grow it. Based on field recordings that capture the sounds of water and the voices and movements of plants and animals in nature, this is a superb new age/ambient work that breathes an aesthetic synth sound that encompasses the beauty and serenity of the pull that is common in Japanese environmental music. Artwork by Michael Flanagan.

A must-have for fans of Japanese environmental music such as Hiroshi Yoshimura, Satoshi Ashikawa and Yutaka Hirose! Organic new age music that is swallowed by the beauty of nature that sways gracefully! Leaving Records is proud to present the debut EP by Green-House, a project by local artist Olive Ardizon. "The six tracks are based on the concept of "communication between plant life and the people who grow it. Based on field recordings that capture the sounds of water and the voices and movements of plants and animals in nature, this is a superb new age/ambient work that breathes an aesthetic synth sound that encompasses the beauty and serenity of the pull that is common in Japanese environmental music. Artwork by Michael Flanagan.

Green-House's latest EP is a collection of unheard & rare recordings from 2021 & 2022. Imaginary department stores, Wendy Carlos-infused virtual classical, soundscape slices and bonus tracks are all situated radiantly along the spectrum of Solar Editions.

Languid yacht-soul from the mind of LA native AJ Greene and his Greenflow collective. Originally issued as a QCA-custom job in 1977, the group’s lone album appeared after years of performing their brand of Sausalito-friendly, seafood AOR up and down the West Coast. The LP’s standout track is ‘I Got’Cha’, with Greene’s sister Eleanor providing innocent “doodoo-doo-doo-doo”s around funky keys, muted trombone, and come-hither whispers.