Forge works the trombone’s hidden corners, Toulemonde is credited with “acoustic objects” (a definition that makes no actual sense, to be honest). This record – though not bad – jeopardizes tolerance, for the area in which these artists reveal their findings is steadily becoming a graveyard for erstwhile fresh approaches and unforeseen results. Those who still attend this sort of performance may partially be justified for willing to “remember” gestures they’ve seen live in a home listening session. However, there’s the concrete risk of hearing analogous sounds in a thousand of different-yet-alike recordings by now. To name but five of those trademarks: liquid purring in the instrument’s conduits, strained upper partials escaping from the embouchure, pressurized hiss, springs (or related artefacts) going “b-o-n-n-n-g-g-g-g”, reiterative rotation of spherical items within a container. There are many more in Pie ‘n’ Mash; if the participants in such a project can’t realize that it’s time to move on, it is not a reviewer’s fault. The way in which the ears accept these presences is what ultimately defines the record’s position, and after an initial phase of inconsequential dabbling, Forge and Toulemonde at least manage to produce a number of combinations that are even nice to hear. The not excessive length (38 minutes) saves the CD from a completely negative judgment; its lack of structural consistency parallels it to a mere gathering of fairly acceptable emanations, which is regrettably translatable as “your memory will shut this stuff out in about 24 hours”, despite the non-belligerency of the whole. Or maybe for that very reason.