In addition to their passion for genetical engineering and defiling of respective musical instruments, viola and cello, as well as a decade of duetting, French-Japanese violist Frantz Loriot, whom I already introduced on the occasion of a review of his collaborative project Viola Two Viola with Cyprien Busolini, and French cellist Hugues Vincent have in common the teachings by Joelle Leandre, one of the most renowned improvisational master. Her Cage-inspired approach to composition, her precepts about the importance of solid classical compositional prep even for the most ungodly improviser who wants to build a bridge between improvisation and composition seem to resound in this "Suite pour machines a meche" (translatable as "Suite for drill machines"). The introductive tuning of "Immersion" with their two instruments which seem to follow opposite directions on musical scale - viola (getting more and more piercing) towards higher pitches and cello, which looks like an emulation of binaural tones of a brain machine, towards very low ones - and the final "Emersion", a sort of ballad where a certain declension of harmonics unexpectedly features in a lead role, could mean to suggest there have been some intent of describing a sort of journey into the abyss of respective performative language with some topical phases such the total approach on the threshold of silence on "Shizuka na yume", whose woody stripping of bark and gunky sliding on strings are maybe the most bizarre moments of the release, the mechanical assemblage, testing, timing and calibration on "La Machine", the neurasthenic and enervating scraping on the eruptive "Un certain agacement se faisait sentir parfois" (transl."A certain irritation sometimes makes itself perceivable") and the minimalistic harmonic germ of "Nitescence". This release by Bobun packs so many sonic hints that it easily manages to attract listener's ear.