Isolated squeals, hanging screeching, single tones, mild pinches on strings - it sometimes remind the noise of a messy mountain of metallic junk slightly moved by breezes, differently elongated accordion whispers, creaking object or ligneous cracks that could let you think of an ongoing but almost gentle flaying of a wooden object, subtle alternation of shy stroking of higher keys of a piano or heavyweight lingering on lower ones, sinister swooping drones on grazed strings. All the enlisted elements would mean nothing by themselves, so that the primary activity of the Great Waitress, the project by Australian accordion player Monika Brookes and her fellow-countrywoman Laura Altman on clarinet together with German pianist Magda Mayas (names that some of our readers following electroacoustic improvisation on our zine could have met on some outputs by the appreciated Portuguese label Creative Sources, but theses girls individually made a plenty of important collaborations - including Joe Talia for Oren Ambarchi and The Necks'members Chris Abrahams and Tony Beck -), is setting the table by improvising some possible arrangements by means of different and mostly improvised criteria in order to inspire a narrative plot and feed listener's imagination. For instance, the first part of "Ribboning", one of the two long-lasting halves of 'Hue' made me imagine the cinematic representation of the phase of studying preceding a duel between Shaolin monks in the middle of a Japanese garden, which will never start. The general mood of the session turns into something else around the seventh minute: the first near-touch of the elements meet a rising pressure, which turns again into a sort of wanted stasis after three minutes. Likewise brain-stimulative, the way this trio performed in the second half, they wisely named "Pleats", whose slightly upsetting progression reaches the highest intensity when the rubbing on piano strings (I guess they made it so) generates a sound which evokes the one of an impending storm.