Steering well clear of emotional detours, pianist and “sometime musical feminist” Schlicht and Arnold on SuperCollider guitar display great restraint as they develop a sonic choreography of sophisticated circumspection with echoes of 20th century avant-garde and somewhat dusty free-form abstraction. An adept of the “exploration of twelve tone applications to jazz improvisation”, Arnold tries several alternatives to the commonly known use of multiprocessed guitar, and his volatile lines and volume pedal swells reveal excellent technique even if they sometimes lack staying power, probably due to the abundant use of the abovementioned software which tends to flatten his personal touch. Schlicht’s influence on the music is pretty heavy: post-Schweizerian digital juggling and obscure, sparse chords à la Joachim Kuhn (circa Dark) contribute decisively to the impressionistic aura of the enterprise. The two tasty ingredients don’t quite mix, but String Theory is certainly more palatable than Disklaimer.