Guitarist Marc Sinan and clarinetist pareddown yet still highly-expressive palette on this duo recording. The titles declare a tight-lipped allegiance to the minimalist cause: White is made up of two five-part compositions: ‘Upon Nothingness’, mostly by Sinan; and ‘There’, by Büyükberber. ‘There’ gets part numbers (I–V), while each segment of ‘Upon Nothingness’ is assigned a colour (‘Yellow’, ‘Blue’, ‘Green’, ‘White’, ‘Red’). Not a vast amount of information, then, and expectations of hummability are suitably damped down. Instead, the resulting recordings are densely textured and genre-defying. ‘There’ is a series of improvisations made around predetermined pitch sets – academic in set-up, spontaneously inventive in execution – while ‘Upon Nothingness’ incorporates the use of electronics as well as historic field recordings made in 1916 of Armenian prisoners of war in German detention camps, and plays out as a series of affectingly ghostly sonic palimpsests.