Tim Feeney and Vic Rawlings have performed as a duo since 2005.  Their music explores an unpredictable relationship with making sounds, achieved by elaborate preparation of acoustic soundboxes, such as drums or cello, and expanded via original electronic instruments, ranging from naked circuitboards to amplified kitchen objects. They focus on the metamusical potential of unstable sounds and silences, exploring austere combinations of sound and the otherworldly ripple effects that pulse through a silent space or alert ears.  The group has toured throughout the Eastern United States, and released its first CD, In Six Parts, on the Sedimental label in fall 2007.

Tim Feeney treats his percussion setup  as a friction instrument, using bows,  scrapers, and rosined drumheads as  implements and sympathetic resonators  to capture and amplify frequencies that  go unheard when an object is struck  with a mallet.  He amplifies this  acoustic console with an electronic  instrument, arranged from mixers,  contact microphones, and effects  pedals, that further alters its spectral  characteristics. Tim collaborates with musicians including James Coleman, Howard Stelzer, Jack Wright, and the trio Onda, with whom he has performed at venues such as the Red Room in Baltimore, Boston's Institute for Contemporary Art, Firehouse 12 in New Haven, Connecticut, the Knitting Factory New York, Princeton University, Harvard University, CNMAT at UC-Berkeley, and the inaugural Counter Fit Festival in Rochester, New York. As an interpreter of contemporary compositions, Tim has performed at venues such as the Brooklyn Academy of Music and Norfolk Chamber Music Festival, with the So Percussion group.  With Boston's Callithumpian Consort,  Tim has appeared   at the Gewandhaus in Leipzig, Germany, and as part of Tonic's 50th birthday celebration for John Zorn.  He has recorded for the Sedimental, Soul on Rice, lildisc, Audiobot, and Brassland labels.

Vic Rawlings is active as an improviser  and instrument builder, specializing in  modifications of existing instruments,  creating extensive cello preparations.    He also continually develops an electronic  instrument from extant exposed circuitry,  producing, in effect, a modular analog  synthesizer with a highly unstable interface.    This electronic instrument is paired with a  flexible array of exposed speaker elements,  chosen for their often unpredictable and  idiosyncratic acoustic qualities.             He performs as a soloist and as a member of  undr quartet, the bsc, and in duo and trio ensembles with Mike Bullock, Greg Kelley, Bhob Rainey, Sean Meehan, Jason Lescalleet, James Coleman, Liz Tonne, Tatsuya Nakatani, and Howard Stelzer, among others. Collaborators have included musicians as diverse as Eddie Prevost (AMM), Donald Miller (Borbetomagus), Daniel Carter (Other Dimensions in Music), Laurence Cook, Jaap Blonk, Masashi Harada, and Stephen Drury. He has recorded for the Grob, Sedimental, Emanem, Boxmedia, Chloe, Absurd, and Rykodisc labels.  He has performed as a soloist/composer with the Nicola Hawkins Dance Company, and has composed scores for films by Alla Kovgan and Jeff Silva.  He has appeared on the Music Action and Victoriaville International Festivals, and has toured the United States and France.