Personally shaped research projects, developed in isolation, that penetrate to the depths are the foundation of the singular positions and hermetic character of this evening’s artists. They have a common experimental methodology, non-dogmatic spirit and wilful curiosity that delves into the most miniscule structures with an arch, quiet, and gleeful humor. For Tétreault and Schick, the object of investigation is their equipment, with contact mic and tape-recorder serving as microscope: record-players, tape-recorders, self-built instruments and found articles are for them objects whose sonic depths are to be plumbed in all aspects. Engine noises, static charges, housing sounds; aleatoric shaking, rattling and dropping arrangements, and intentionally provoked accidents and disturbances make their performances unpredictable experimental assemblies. Laplatine and Goodiepal’s curiosity is turned upon their own imaginations: how much noise and experiment can one build into a song without it losing its intimate and personal character and becoming pure abstraction? How much ambiguity, how many identities and personalities can one bring to bear without tearing the mesh of connections that holds them together? Mandolins, carillon, concrete sounds, domestic recordings, pipes, flutes, melodica, electronic instruments, guitars – all manner of noise-makers – their sonic curiosity is unbounded. Floating between Pop songs, art songs and experimental collage, they have the gift of composing musical gems from the most diverse material; unpolished, but close and warm.