About Leah

01

A life spent listening

Leah Jane Hendrix is an independent singer, songwriter, and recording artist from Reno, Nevada, making atmospheric alternative music that moves through dream pop, trip-hop, shoegaze, psychedelia, post-punk, and darker electronic textures.

Her relationship with music started long before she began releasing it publicly. Her father had a library of thousands of records, and later CDs, giving her an enormous range of music to explore from an early age. She grew up absorbing many of his influences alongside homemade mixtapes, radio, records she discovered herself, and eventually her own collection. By elementary school, she was already singing publicly and developing the unusually broad listening habits that continue to shape her work.

Early listening moved from ’50s and ’60s songs and classic rock into Bowie, Peter Gabriel, and INXS. Music was never limited to one era or scene. Classic rock, ’50s and ’60s recordings, new wave, goth, alternative rock, psychedelia, electronic music, dream pop, trip-hop, and experimental music all became part of the same internal library.

02

Singing, writing, and hiding

Leah has been singing and writing for most of her life, but performing has never come easily.

As a child, she was selected to represent her school at a large citywide talent show and continued singing in school performances into adolescence. Stage fright became a persistent obstacle. Later opportunities to perform and collaborate sometimes ended the same way: she wanted to do them, but fear made participation difficult.

For years, much of the work remained unfinished, private, or shared only with people close to her.

Releasing music now is partly about changing that pattern—not waiting to become fearless before allowing the work to exist publicly.

03

Making music

Leah’s process changes from song to song.

It can involve lyric writing, melody writing, singing, vocal recording, MIDI, beats, atmospheric sound design, arrangement, editing, comping, DAW production, generative tools, or some combination of them.

Although she does not consider herself proficient on bass, guitar, or keyboards, she sometimes records very simple instrumental sketches—a bass line, keyboard figure, guitar idea, or rudimentary melodic framework—to communicate something she hears in her head and use it as source material.

Some recordings involve extensive manual cutting, rearranging, timing changes, and vocal editing. Others reach the intended result with fewer steps. Sometimes she records new vocals; sometimes later production draws from earlier recordings of her voice.

The method is deliberately flexible.

Leah’s creative process is shaped in part by AuDHD and a history of traumatic brain injury (TBI). These have influenced how she writes, records, edits, and builds music. She combines conventional recording, digital production, and AI-assisted tools to work around cognitive and physical limitations while keeping the artistic decisions her own. Newer tools have helped her turn more of the ideas she hears into recordings.

That flexibility is not intended to replace collaboration. Leah remains interested in working with musicians, producers, engineers, photographers, filmmakers, and other artists who understand atmosphere, restraint, texture, and the value of leaving something a little strange.

04

Two related worlds

The primary Leah Jane Hendrix catalog tends toward the more cinematic and emotionally direct side of the work: melancholy, intimacy, memory, dreamlike atmosphere, and songs that often feel suspended somewhere between reality and recollection.

LJH : Dark Bunny is the more experimental counterpart—rhythm, psychedelia, repetition, altered states, surreal imagery, genre collisions, and ideas that are allowed to become stranger.

It is not simply a genre distinction. The two identities are different ways of approaching the same creative world.

05

Why release it?

For a long time, perfectionism and fear made keeping things private feel safer than showing them to anyone.

Eventually, that became its own limitation.

Leah’s current work is an attempt to build a creative life around the abilities, limitations, obsessions, tools, and resources that actually exist rather than waiting for some imaginary future in which creating finally becomes easy or legitimate.

The music does not come from one fixed method.

Neither does the person making it.