Left Hand Cuts off the Right

Left Hand Cuts off the Right is the moniker for sound artist and experimental musician, Robbie Judkins. The project is an outlet for exploratory methods and composition most often found in music concrete, minimalism, noise and improvisation. His work has been featured in the Wire Magazine, NTS Radio, Resonance FM and at the University of Central Lancashire.

2016 will see the release of 3 solo works – ‘Homo Tyrannicus’, ‘Citalopram’ and ‘Digusting Humans, Beautiful Pigs’ and a collaboration with violinist Geraldine McEwan, titled ‘Desired Place’.


On Nacht und Nebel split (2014, self-release)

Review by the Wire,

Judkins uses zither and electronics to unleash a droney metallic surfaced narrative that surges and ebbs like some doped mechanical bull bucking in slow motion while cymbals are bowed nearby.”

Review by Nine Hertz blog,

On Miconazole 1 for example the endless bell-like tones evoke that most onomatopoeic of words ‘sonorous’ the metallic and clanging sounds resembling a busy eastern restaurant’s kitchen preparing hundreds of those dabba tiffin boxes that are shipped out to workers on trains.

On Goma (2012, Must Die Records)

Review by Idawl Fisher,

“… Things of such beauty rarely come this way and its with a sad heart that I put it to one side to continue with the rest of the review pile. The urge is to play it just one more time, to soak it up, to take it with me on my travels, to push it on to people in pubs, in restaurants, stood at bus stops, here look at this, the new Pussyfooting.”

Review from Igloo Mag,

“…his mind seems to be somewhere in Nirvana with visions of gamelan bells dancing in his head. The opening, title track, guitar and electronics, is the refracted ray of a prism captured as a wind chime in a light, constant breeze. It sounds something like the life force itself embodied. “Untitled” is a brooding, circular mediation on the piano, between whose keys wispy djinn slip in and out. The third panel in this triptych is “Piotrkowska,” in which Judkins claws at an electric guitar with the same relaxed, circle motion, until an annoying grinding is carried in on deep, dark wave pulse. After a while you realize that this particular experiment isn’t really going anywhere, but that’s alright, because you’re just moments away from hitting the button and putting the transcendent “Goma” on infinite repeat.”