Harpsichords

Matthew Bournes Harpsichords immediately enters the pantheon of truly strange records that defy all conventional logic, rendering any comparisons to other music superfluous and beside the point. The premise is fairly simple. The Leeds Conservatoire gave Bourne three harpsichords in various states of disrepair, under the condition that he attempt to make music from them. On the first disc -- thats right, this is a double album -- Bourne, Glen Leach, and Nika Ticciati improvised pieces on all three harpsichords simultaneously, during the course of a single afternoon. It often sounds like theyre wrestling with the instruments rather than playing them. There are abstract melodies and feverish rhythms bashed out, and there are also numerous physical attacks on the instruments. The harsh scraping and violent thrashing result in something close to Baroque noisecore. This is as unhinged and chaotic as fully acoustic music gets, made all the more absurd by being played on an instrument associated with high class, sophistication, and elitism. With the harpsichords being wildly out of tune and constantly clashing with each other, this seems like it would be a nightmare to most classically trained musicians or instructors. For listeners who are well-versed in the outer reaches of the avant-garde, it is uniquely bewildering and absolutely worth a listen. The second disc is less intense, and comparatively subtler, even if its still far from conventional. Bourne improvised pieces on one of the individual harpsichords, while Mark Slater of Nightports processed Bournes playing in real time. Afterwards, fellow Nightports member Adam Martin edited the pieces and contributed additional effects and processing, using both analog and digital equipment. The results are generally sparser and more controlled, although the Nightports guys clearly make their presence known by adding atmospheric layers that evoke haunting and mysterious scenes. There are several moments where they follow their instincts to make things as spooky as possible, and pile on cascades of reverb, taking it to a surreal level that the first disc doesnt touch. Though the first disc is more unique and thrilling, the second provides much more space for reflection, but both are distinct from all other harpsichord music and recommended to open-minded listeners. ~ Paul Simpson