"somethingtobesaid is an hour-long composition for octet commissioned by the Huddersfield Contemporary Music Festival where this performance was recorded in November, 2008. For Butcher it’s an opportunity to merge his usual improvisational practice with composed elements in such a way that composition might lead improvisation into new areas without inhibiting it. Notated pitches and playing intentions were developed from voices on a ten-year-old answering machine tape, a source that surfaces occasionally, and other pre-recorded elements include the sound of multi-tracked wine glasses as well as some sounds from the ensemble’s musicians. somethingtobesaid is intimately tied to processes of memory, including repetition, transformation and expectation. There’s a mingling of acoustic, electronic and pre-recorded elements that blurs both time and source. The piece unfolds like a topographical map of an area both new and oddly familiar. Its very first sound is a drone that defies identification, yet the occasionally surfacing, slightly muffled, voices will resonate with shared experiences of telephone messages and dreams. Different combinations of improvisers create shifting textures and layers of association and density, from the vague and skein-like airiness of “i” with Burn, Cooper, Lehn and Linson, to the sudden hurly-burly and grit of Butcher’s multiphonic tenor and Edwards’ bass as they emerge from “ii,” reminding one why this was recorded and broadcast by the BBC’s Jazz on 3 (this suggestion of jazz reappears on “xiii,” with Butcher’s phrasing and tone seemingly more rooted in customary modern jazz practice than one might expect, this in itself apparently an element of memory). These emerging sub-groups highlight the sense of continuous evolution, while underlying compositional elements seem to create a sense of foreboding, made explicit in the cryptic and fragmented words. There’s even a sense of time coming apart, as in the conclusion of “v” where there’s a sudden collocation of voices, low register-bass and the chirping upper-register of Butcher’s soprano saxophone. That disintegrative process is still more explicit in “vi,” where there’s a “duet” between Burn’s live piano and a recording evidently manipulated by dieb13, sound seemingly becoming substance in a distorting mirror.    Clearly the improvisation takes on different dimensions and assumes new directions based on the composed elements, and the ultimate shape of the piece has coherence and depth compounded of the two methodologies and their abilities to reshape one another. Somethingtobesaid is important and powerful work, mixing mystery and certainty in subtle and sometimes disturbing ways."   POINT OF DEPARTURE - Stuart Broomer. Chris Burn - piano John Butcher - saxophones & pre-recordings Clare Cooper - harp & guzheng dieb13 - turntables John Edwards - bass Thomas Lehn - synth Adam Linson - bass & electronics Gino Robair - percussion

"In the hands of John Butcher, the saxophone can sound like anything, from a piece of hollowed out brass baubled with pads and valves to an hermetically sealed feedback system, a miniature sound environment teeming with ever-evolving note-forms, or a huge echo chamber inflicting dub scale damage on every breath. The first half of the CD provides some particularly hallucinatory perspectives. The Oya Stone Museum was originally a working mine and it now consists of a series of enormous resonant chambers cut clean from the rock face. “From the first note I could almost physically feel the sound hanging in the air,” Butcher recalls. “lf solo improvising is to make any sense it has to respond to the particular acoustic of wherever you're playing. It's your partner, and it tests the flexibility, the usability, of your own language. The Oya concert makes for some very deep listening, with Butcher loosing darts of single notes and long oscillating currents deep into the bowels of the building only to hear them rebound as bat calls and foghorns. As the performance unravels, he starts to work real-time layers of overlapping call and response into a weave of ectoplasmic forms. The Tokyo club date, alongside no-input mixing board operative Toshimaru Nakamura, forms the 19 minute duet that caps the new CD. Butcher engages with the gulf of Nakamura's almost-sounds with shrill, sibilant hisses, squeaky balloon tones and luminous single notes that swell on the horizon like pregnant suns." WIRE - David Keenan.

JOHN BUTCHER - tenor/soprano saxophones, (feedback tenor on # 4) In the summer of 2022 Thomas Buhl-Wiggers, of the Cejero festival and label, kindly invited me to play inside the mammoth Brønshøj water tower. The very resonant spaces I’ve worked in before include a giant gasometer, a hollowed-out Japanese mountain, an underground reservoir, a Victorian mausoleum and a massive World War II oil tank. I’m still fascinated by how different these enormous environments all sounded and felt. They each inspired different approaches in trying to find the music for the actual space, and my recent experience within this extraordinary construction was no exception. The Brønshøj Vandtårn is a concrete water-tower, built almost a hundred years ago in the suburbs of Copenhagen. It’s 20m wide and 34m high - smaller than some similar shapes I’ve played in, but with a large, lingering reverberation. Some sounds seem to float away as if through liquid, others acquire a shifting haze, and some just prefer to sit around. John Butcher

Florian Stoffner - guitar John Butcher - tenor & soprano saxophones Chris Corsano - drums & half-clarinet Here, then, are three men who have, if you will, won the argument already. They don’t need excess volume or headline soloing to get their message across. Their message is inscribed in elegant lower-case and rarely used aural fonts. You will find yourself leaning forward because not a note or whisper should be missed ... (Brian Morton)

THERMAL (John Butcher / Andy Moor / Thomas Lehn) formed in 2001, three musicians from different musical backgrounds, evolving along their personal routes to meet in free improvisations. For twenty years they’ve been taking their subtle and explosive music throughout Europe. Unsounds released their first album Thermal in 2003. In 2023 the trio of quiet giants comes back with Ice in a Hot World, a new album recorded live in Avignon. The Thermal powerhouse has become highly confident but spontaneity and intuition are at the core of their performance at all times. Twenty years of working together, and in other formats, turned Thermal into a powerful and intrepid unit, always searching for uncompromising, mysterious and unchartered sonic frontiers. Eyal Hareuveni

Jean-Luc Guionnet DYSLEXIC HARP (DECIPHERED IN THE DARK) For pedal harp solo / Pour harpe de concert solo Dedicated to / dédicacé à Rhodri Davies     Rhodri Davies: pedal harp / harpe de concert   Recorded, edited, mixed and mastered by Jean-Luc Guionnet / Enregistré, monté, mixé et masterisé par Jean-Luc Guionnet. Recorded 17th and 18th of January 2010 at q-02, Brussels / Enregistré les 17 et 18 janvier 2010 au q-02, Bruxelles. Design by / Concu par Anna Peaker. Etchings by / Gravures de Jean-Luc Guionnet.

Telyn Wrachïod Urquhart gan Ardival / Urquhart bray harp by Ardival. Recordiwyd gan Jethro Chaplin ar y 24ain o Awst 2023, yn Stiwdios Mwnci, Dolwilym. Recorded by Jethro Chaplin on the 24th of August 2023, at Mwnci Studios, Dolwilym. Ôl-gynhyrchwyd gan / Mastered by Sam Grant. Dylunio gan / Design by Anna Peaker. Darlun gan / Drawing by Jean-Luc Guionnet. Mae Cildraeth Sienco yn fyrfyfyriad sy’n seiliedig ar gyfuniad o nodiant a strwythur y darn Brandy Cove gan Angharad Jenkins â thiwnio tannau amgen ‘Cywair yn Nghywair y Wrach’ o lawysgrif Robert ap Huw. Cildraeth Sienco is an improvisation based on an amalgamation of the notation and structure of Angharad Jenkins’ Brandy Cove with the alternative string tuning of ‘Cywair yn Nghywair y Wrach’ from Robert ap Huw’s manuscript. Diolch i / Thank you to: Nia Daniel, Richard Dawson, Carl Ludwig Hübsch, Angharad Jenkins, Dafydd Roberts, Catrin Rowlands, Soundtrips NRW, Bill Taylor, Fern Thomas, Amy Treharne, Daniel G. Williams.

Rhodri Davies self reissue of fantastic acoustic lap harp solo record. First released on LP with Alt Vinyl, av057 (2014) alongside the amplified 'Wound Response', 'An Air Swept Clean of All Distance' sees the harp tuned to a different set of fixed pitches and played without preperation or distortion.  "...hearing An Air Swept Clean of All Distance I think also of Cy Twombly, burning a path to the ancient classical world through a mess of rough scribble, vivid marks, smears and graffiti. There is a static character to the playing here, rising and falling, arrested and stuttering, rolling and tumbling...returning compulsively to the same passage as if caught in that same tangled web of strings once violently cut, now reconstituted into a set of revenant problems." - David Toop, 2020.  “Davies settles obsessively on tumbling phrases, arpeggios and articulate rhythms, turning them over and over, letting them develop only within strict limits, as though this fine, prolific adventurous musician is freshly discovering a harp that has been there all along.” - Julian Cowley, Wire Magazine, 2014 --- Rhodri Davies / telyn benglin (lap harp) --- I / For Elliw & Brychan Recordiwyd ar Ionawr 31, 2014 yn Stiwdios Blank, Newcastle upon Tyne / Recorded on 31st of January 2014 at Blank Studios, Newcastle upon Tyne. Cynhyrchwyr gweithredol / Executive producrs: Richard Dawson, Graham Thrower. Recordiwyd, cymysgwyd a meistrolwyd gan / Recorded, mixed and mastered by Sam Grant. Dylunio gan / Design by Anna Peaker. Darlun gan / Drawing by Jean-Luc Guionnet. Benthycwyd y teitlau o weithiau / Titles borrowed from the works of Carlos Castaneda, Kate Fagan, Alec Finlay, Nathaniel Mackey, Redell Olsen, James Purdy, Sun Ra, Nick Thurston, Sue Tompkins. Rhyddhawyd An Air Swept Clean of All Distance yn gyntaf ar finyl gan Alt Vinyl, av057 (2014) / An Air Swept Clean of All Distance was first released on LP with Alt Vinyl, av057 (2014). Diolch i / Thank you to John Bisset, John Butcher, Angharad Davies, Ann Davies, John Davies, Richard Dawson, Angharad Closs Stephens and Graham Thrower. AMGEN CD003

Rhodri Davies: Over Shadows I / For ACS Telyn lifer a bwâu electroneg / Lever harp and EBows Recordiwyd Gorffennaf 26 2004 yn yr Hen Ysgol, Bracon Ash, Norfolk. Source material recorded on 26th of July 2004 at the Old School, Bracon Ash, Norfolk. Cyfansoddwyd Mawrth 2006 / Composed in March 2006. Recordiwyd gan / Recorded by Graham Halliwell. Golygwyd gan / Edited by Benedict Drew and John Wall. Ail-feistrolwyd gan / Re-mastered by Sam Grant. Dylunio gan / Design by Anna Peaker. Darlun gan / Drawing by Jean-Luc Guionnet.

Stringing the Telyn Rawn from Culture Colony on Vimeo. --- "This album's 18 short improvisations on the instrument are brilliant. There is play and twang, a sense in which the instrument is being tested and sounded. Sometimes it sounds wobbly like a fawn on new legs, in other moments it has grit and shuffle. To make an instrument that hasn't been heard for 200 years, and then play brand new improvisations on it is bold and refreshing – a forward movement that brings the past along." - Jen Allan, The QuietusDating back to the 13th century in Wales, the Telyn Rawn is a nearly forgotten horsehair harp; UK improvising harpist Rhodri Davies researched the instrument and its unique sound, commissioning the construction of a harp on which he performs 18 improvisations of impressive technique and sonority, launching his new Amgen Records label with this album named for the instrument. Harp design by Rhodri Davies, body of harp by Alun Thomas, leather work by Gaynor Davies-Howell, pegs turned by Alan and Milissa Dewey, horse hide supplied by Barrhead Leather, plaited and wound horse hair strings supplied by Simon Chadwick. The building of the harp was made possible through a Creative Wales Award. Recorded, edited and mastered by Sam Grant.Recorded 22nd and 23rd of January 2020 at Blank Studios, Newcastle upon Tyne.Drawing by Jean-Luc Guionnet.Design by Anna Peaker. Diolch i / Thank you to: John Butcher, Richard Dawson, Audrey Evans, Delyth Evans, Robert Evans, Ann Griffiths, O’r Pedwar Gwynt, Robert Hadaway, Huw Ceiriog Jones, Michał Poręba, Llio Rhydderch, Gorwel Roberts, Sioned Puw Rowlands, Elan Closs Stephens, David Sylvian, Sesiwn Werin Tŷ Tawe, Bill Taylor.

Relics of the Horsehair harp This collection is a companion piece to my solo album ‘Telyn Rawn’ AMGEN 001 (2020). I have invited some of my favourite musicians to respond to the eighteen improvised pieces on ‘Telyn Rawn’. I asked each contributor to imagine that the musical material improvised in 2020 was an ancient musical form that had fully existed in the medieval period, and, that each of their responses were to have happened centuries after the imagined formation of the ‘Telyn Rawn’ pieces. This album therefore proposes a new imagined repertoire that emerges from an already speculatively built instrument and equally re-imagined repertoire. As guitarist C Joynes comments, these creative responses offer a kind of ‘speculative fiction’ approach to the source material. At the point where this music reaches you, it has been filtered through imagined passages of time, various musical languages and histories, and channelled through the fictional ecologies of musicians, locations and instrumentation. The title given to this album of imaginary musical histories, ‘Creiriau y Delyn Rawn’ or ‘Relics of the Horsehair harp’, is inspired by the title Edward Jones gave to his manuscript ‘Musical, Poetical, and Historical Relicks of the Welsh Bards and Druids’ (1802), a title I have always loved. Rhodri Davies, Abertawe

Rhodri Davies self reissue of  Wound Response originally released by Alt Vinyl in 2012. Reissued alongside the solo acoustic 'An Air swept Clean Of All Distance', Wound Response is loud, distorted and forms an attempt to work with rhythm and pitches in an open and fluid way. --- Wound Response was first released on LP with Alt Vinyl, av038 (2012) and formed a radical departure for Davies’s solo work. Inspired by the ‘Destruction in Art Symposium’ (1966). Davies used two main techniques: over-articulate the strings (what harpists are taught notto do) and attack the strings with a plectrum, forcing the tuning into new relationships until the strings eventually broke. This is the first time that this album will be released on CD. “Wound Response is a raw recording scored for solo lap harp, overdrive, volume pedal and twin amplifiers. The fuzz is particularly cranky here, giving Rhodri’s obsessively repetitive harp soundings the kinda scorch of solo Masayuki Takayanagi.”David Keenan, Volcanic Tongue 2012 --- AMGEN CD002

Syed Kamran Ali (Hunter Gracchus, Harappian Night Recordings) introduces ‘Dog Wearing Dracula Fangs’; the first album from his newly minted Fish el Fish project. As if to kick the existing ideas of his Harappian Night Recordings work into all new orbits of singularity, ‘Dog Wearing Dracula Fangs’ wrenches a dense throng of voices, electronics and busted instrumentation thrashing and wailing through filters of avant-psychedelic glimmer, mock exotica and atrophied, fusion-esque sheen. A dry, mysterious spoken prose underpins the sonics, appearing to speak in terms of daunting geopolitical allusions in one breath, then glib, tongue in cheek piss-taking sarcasm the next. These narratives pull you immediately into what feels like an entire universe of vivid though scarcely penetrable imagery, begging to be decoded and explored in detail.Yet even through repeat listens of this enticing work it is difficult to fathom exactly the type of thinking this music has sprung from. Far too crude and homespun to be the product of arch cultural strategy, ‘Dog Wearing Dracula Fangs’ is possessed of a blown out fidelity indicative of untarnished, DIY spontaneity and the willingness to let things emerge as they will. Clear as day from the moment of playback, however, is a confident, fully realised other worldliness to this music that is anything accidental. Comprised chiefly of shortish, song length pieces, each notably varied in shape and feel, there is a fully formed ‘proper album’ quality to ‘Dog Wearing Dracula Fangs’ which only reinforces curiosities about exactly where the fuck this has all come from. Whatever the answer, whatever its secrets, this is probably the most weird and wonderful release adhuman has had the pleasure to take on so far.

Polish composer and sound artist Robert Piotrowicz presents his first work for Penultimate Press, one which outlines an uncanny sound world with a series of fictional organ pieces.Whilst resembling a pipe organ alongside other acoustic sources all material is strictly synthetic. The impression of air being swept through the bellows… false. The spatial organisation suggesting it was recorded in large physical space, false! The long middle solo passage in Noumen must have been performed by some kind of wind instrument, no? False.All of these are elaborate tricks of the ear.The music of Afterlife is an artificial construct, one that is not able to be played on a traditional 12-tone organ, especially as one encounters a tuning based on 1/3-tone intervals. The result are three compositions which comprise a rather unique harmonic composition. One that comes across both familiar and foreign.Afterlife is an ambitious exploration of sound modelling and sound manipulation. Manipulation of both the tools deployed and to the listener with regards to the synthesis of acoustic deception. The result is a bold and dramatic shimmering mass of music. A fluid and visceral audio rendering with sheets of colourful sound pouring around the listener.Like much of Piotrowicz’s output this is more extraordinary exploration of the constituent relationship between harmonic and frequency components whilst investing a deep engagement with the synthetic as acoustic ruse.

Milo Thesiger-Meacham’s Audible Heat is an extended documentary, a fitful academic essay, a mass-media probe, an idiosyncratic piece of travel writing, a densely illustrated sound-art montage, and a deep dive into man’s complex relations with the seemingly eternal sound of the cicada as ‘audible heat’ in human consciousness.Featuring original music and field recordings, and spoken contributions by writer and translator Cristina Viti and filmmaker Ahmed Yassin Aldaradji, Audible Heat ranges across continents, embracing Greek tongue twisters, the poetry of Ibn Quzmān and Harry Crosby, African-American mathematician Benjamin Banneker’s lost wooden clock, Plato’s Phaedrus, cicadas on the film sets of Sergio Leone’s ‘Spaghetti Westerns,’ the body language of Clint Eastwood, the apocalyptic premonitions of the Wampanoag, Geronimo’s hatred of telegraphy, and botanist Donald C. Peattie’s terror of the inescapable buzz of mortality.Equal parts academic argument, travelogue, and critical collage, this synthesis of ideas pulls upon a wide-ranging bibliography of materials to examine the omnipresent sound of the cicada throughout human history and culture. Herein, this climatic sound acts as a conduit between ecology, identity and mortality, and the cicada’s sonic inference emerges as a codification of the unknown and unfamiliar—as a spiritual weathervane in desert settings—and as a means of teasing out the sensorial limits of human understanding.Audible Heat was written, read, recorded, produced & scored by Milo Thesiger-Meacham. It was first commissioned and broadcast as a work for radio by Radiophrenia, September 2023.

Frames that lean, pictures that roam’ is a collection of instrumental works by Ailie Ormston for tape, electric guitar, cello and double bass. This ensemble of instruments achieves a complex sound ranging from fully electronic (tape) to fully acoustic (strings), with the guitar occupying space in-between. The freeing of fixed material is the common thread throughout these six works – riffs and motifs are established before being reinvented and reimagined, bending and twisting within the bounds of their own frames then reemerging in new pastures. This is employed using different methods in each voice – through processing in the electronics, improvisation on guitar, and detailed notation for the strings.Ormston crafted the foundational electronics by processing fragments of improvised recordings using household objects and instruments, then assembling the results. These source materials are repurposed and brought back into real time as filters which the guitar is channelled through, subtly revoicing them and providing space for new melodic flares. The guitar is further abstracted through preparation with paper woven through the strings to disguise its well-known timbre and to afford new ways of playing. Ultimately, Ormston uses the guitar as a percussive device and sampling tool, bridging the gap between electronic and acoustic realms within the group. Ormston adds further dimension to the ensemble with cello and double bass parts that ground the abstract textures with nourishing melodic passages, informed by pitches, rhythms and gestures found in the other voices.Early interactions of these works were written as part of a commission for experimental music festival Tectonics in 2022. They were further developed whilst in residence at Church Walk, Aldeburgh and completed at home in Glasgow in March 2024. For this album, Ormston is joined by Joanna Stark on cello and Rhona MacDonald on double bass, for whom the string parts were written. Recording of the string instrumentation, as well as studio production on the album, was made possible through support by Help Musicians.  released March 19, 2025

Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980. Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet.  With this album Glynne and Zwier (†), based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty.   My long-time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’:   “Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80's. A beautiful and sad, unmistakable masterpiece.”

11 track album of previously unreleased music for a ballet choreographed by Philippe Talard. Composed, performed and recorded by Michael Ranta in 1988/1989.