Rising In Love : Medicine Mantras 3 arrived on December 5, 2025, as a four-track album and the third installment in a series that has become one of the clearest entry points into Lee Harris's music. Harris is best known as an energy intuitive, channeler, and author, with books like Energy Speaks, Conversations with the Z's, and The Future Human to his name. But he has also been writing and producing music since 1998, and the Medicine Mantras series is where his teaching sensibility and his musical practice meet most directly.
The album comes out of his long partnership with composer Davor Bozic, with whom he has made albums including Transmissions, Awaken, and Timelines. Released through Harris's own Golden World Music label, it sits in the same year as Mantramorphs and shortly before Sacred Fire. Within that run, the Medicine Mantras albums are the most compact and function-minded: short, focused pieces, each built around a single emotional or energetic intention.
Harris's voice is the central instrument here, and it is a warm, present one rather than a distant or ethereal one. Around it, the arrangements stay deliberately spare: layered guitar, subtle synth textures, and percussion used sparingly. Nothing crowds the voice. The space between the elements is part of the design.
The pacing is slow and contemplative. Mantra-based songs of this kind build their effect through repetition and gentle variation, so expect a phrase to return many times, each pass shifting slightly in weight. There are no sudden dynamic swings or big crescendos that pull you out of an inward state. The mood is open, steady, and heart-forward, in keeping with the album's title.
That restraint is a feature. Listeners used to dense pop production may find it undersaturated at first. For anyone who uses music to settle the body or hold an intention, the plainness is what makes it usable.
I can't responsibly name individual tracks from this album: the verified information confirms that it has four tracks but doesn't list their titles, and guessing would do you a disservice. What can be said is how the album works as a whole.
Each of the four pieces is built on the series' template of a mantra paired with music, with an explicit emotional and somatic intention. Think of the four tracks as four doors into the same room rather than a story with an arc. Because the album is so short, the best way to find your signature track is to listen straight through once, then notice which piece your attention settles into most easily. Return to that one for practice. Harris's wider Medicine Mantras catalog includes affirmations such as "I Call Back My Power," "I Release Any Energies That Are Not Mine," "I Awaken My Heart to Love," and "I Am Enough," which gives a good sense of the plain, first-person language this series favors.
This is not bhakti or kirtan in the strict sense, and it would be a mistake to listen for that. Harris's work sits outside traditional lineage structures. There are no Sanskrit chants, no guru-initiated mantras, and no claim of descent from a specific school. The "mantras" here are affirmations in plain English, sung and repeated.
The closer family is contemporary sound healing and modern devotional-adjacent music, where repetition, voice, and intention do the work that ritual formality does elsewhere. It borrows the logic of mantra practice (repeat a phrase until it moves from the head into the body) without borrowing its vocabulary. For people wary of appropriation or guru dependency, that is part of the appeal. For people seeking depth within a formal tradition, it will feel lighter by design.
This album is for sensitive, intuitive listeners who already work with meditation, breathwork, journaling, or somatic practice and want music that supports it instead of competing with it. It suits someone in a period of emotional opening or rebuilding: after a loss, in a stretch of self-trust work, or when learning to receive. Yoga teachers and practitioners looking for short, intention-specific pieces will find it practical.
It is less likely to satisfy listeners who want instrumental virtuosity, avant-garde composition, or confrontational spiritual material. Those uncomfortable with New Age language such as energy, intuition, and heart-centered living may find the framing a barrier. And the affirmative tone can read as gentle to the point of sweetness for anyone seeking something more rigorous.
Give it a full, uninterrupted pass. At four tracks, it asks for little time, so it is easy to set aside a quiet block in the evening, ideally after the day's tasks are done. Headphones help, since so much of the effect lives in the closeness of the voice and the quiet space around it.
Sit or lie down, and pick an intention for the session before the first track begins. Let the repetition do its work rather than analyzing the lyrics. If a phrase catches, stay with it; sing along under your breath if it feels natural. Then, on a second listening on another day, use the track that spoke most clearly as a standalone practice piece, in the morning, before a hard conversation, or as a closing ritual for the evening. This is music made to be used, and it rewards being returned to.
