Pedal, an improvised work by Australians Chris Abrahams (The Necks) and Simon James Phillips for two pianos, is dominated by lengthy passages of slow-moving, relatively constant sounds. Certain pieces are busier, with a faster rate of change. They're as stringent but much less rigid, particularly on the bustling fourth track, a shifting, at times almost gestural amalgam of muffled squawks and rasping piano chords, which makes for a refreshing timbral contrast.

Similarly, Abrahams range and lightness of touch loosens Phillips up, provoking some slight but welcome tension. The two subtly negotiate adjustments in volume, switching angles and perspective and artfully jockeying for prominence in the mix.

On the one hand, then, the duo uses an economy of means to make the most of the least, elongating, juxtaposing and reconfiguring a limited palette. On the other, however, this very narrowness of palette, coupled with what is oftentimes a rather low volume level, means that this motley mix of miniaturized events is to various degrees masked or in any case obscured. One often finds gently fragmented passages where individual sounds thus swiftly form concentrated schools and move in unison like a ball of sardines.

It does become apparent at points that this approach has rather limited mileage. The incessant chatter of notes makes for almost claustrophobic listening and there is little discernible difference between some of the sections. But, even so, the duo's attention to detail and proficiency of execution often enables the proceedings to open up and tumble, spiral and dissolve into endlessly enticing permutations of note cells.