Three extended pieces by two French artists whose visions coincide entirely, despite the difference of the respective means of expression (VCS3, electronics, trombone and voice for Foussat, tenor sax for Guérineau). There are several notable points in Aliquid that distinguish the musicality of the duo, the most obvious being their love for the sounds of real life and, especially, of creatures that symbolize purity: in “Loin De La Pologne” seagulls and blackbirds become an integral element of the improvisation, and in “Après… La Visite” a newborn’s desperate crying is juxtaposed to equally weeping reed strokes. Apart from these delicate digressions, the music’s body is mostly shaped by an attentive ear to the electronic management of the instrumental palette. The dialogues are informed by a finely working contrast between the tendency to open-air explorations of melodic fragments by Guérineau and the less welcoming, but always effective cauldrons of roars, bubbles, enlightened nimbuses and schismatic corporeality of Foussat’s analogue arsenal, through which he also manipulates his partner’s elasticity (for example transforming simple lines into digitally delayed and pitch-transposed dissonant nightmares). The saxophonist is certainly able to discharge serious smoke too, as confirmed by the edgy convolutions heard in “L’Innocence Des Mammifères II”. This music needs no forethoughts or precautions of sorts, a legitimacy proven by the couple’s investigation of the audio spectrum without preconceptions. It’s a pretty long CD at over 70 minutes; however, an absolute lack of pompousness defines its complete palatability.