Alfred Hoffman, working for Sandoz laboratories in 1941, discovered Lysergic acid diethylamide during a methodical study of ergots for practical chemical application. Sandoz initially passed on LSD, but four years later Hoffman decided to resynthesize the stuff on an intuition, took a magic bike ride, and embarked on his search for psychological application for the psychedelic state.

Nauseef sets the pacing with actively spaced percussion, a broad palette of sounds that provide guidance and accent to the group improvisations. Mori's laptop provides an expansive voice of controlled electronic sounds, a twisted aviary of sound and disturbance that always seems to be saying the right thing. Courvoisier is inside and outside the piano, her versatile approach providing both joyous and ominous counterpart. The sense of movement inside of restraint is the key to their approach, and these 3 create a fascinating and unhurried dialog. The musical conversation is punctuated by and in reaction to the voice of Alfred Hoffman, who's thick accent intones from a lecture recorded in Amsterdam. Walter Quintus, credited for recording and mixing, adds a further layer of effects and manipulations. Together it makes something that reminds one of a psychedelic journey taken while listening to a poet standing in front of a mesmerizingly ornate tapestry.

"And indeed, the first non-medicinal self-experiments with LSD were carried out by writers, painters, musicians, and other intellectuals."-Alfred Hoffman