Harpsichords is a two-CD set bringing together improvisation for three harpsichords, each of which were in a different state of disrepair.  The first disc focuses on the three instruments played together, with the results often moving between noise and anti-music. And the second disc finds each instrument (with live electronics/ processing) being played separately for more formal/ less dense improv-  all making for a very interesting contrast.

The two discs come in fetching red with gold text, mini gatefold. Inside, we find each of the two discs in its own clear plastic sleeve, with texts detailing track titles, and a write-up on how the opportunity came about to work with the instruments.

Matthew Bourne is an English Jazz pianist/ improvisor who has been active since the early 2000s, having around thirty releases to his name thus far- putting out both standalone albums and collaborations. This release finds in working with four other collaborators- two on each disc

So the first disc is entitled  ‘All Three, At Once’, and finds Bourne working with Glen Leach and Nika Ticciati. It takes in eight tracks in all, and as mentioned earlier, the sound here is often densely layered/noisy. We move from the jarring discord plonking & anti-ornate searing high-pitched darts of “Quincy”. Onto whistling scuttling, screeching swirls, mournful bays, and haphazard gallopings of “The Helmet Of Disasters”. Though to the manic layers of cascading keys, wonky-slight-pitch shift darts, and selection of distant hacks that is “Closer”.

Disc two is entitled ‘Each One, Separately’, and finds Bourne working with Nightports, a duo bringing together Adam Martin & Mark Slater. This disc features nine tracks, and there is certainly more sonic variety on this disc. We move the rapid picking/cascading, and faint warbling glow of “Ticknail”. Onto the forlorn to swirling key stabs/ subtle tacking reverb of “Red Badger”. Though to the cheekily darting/ sped-up runs and discordant stabs of “ Brown Bins”.

As a release, Harpsichords is going to appeal to those who enjoy the denser, more abstract side of the improvisational form.