This trio of digital and analogue electronics accompanied by French horn worked as an illustration of how instruments from three different traditions of modern music could work together, but also of the tensions within exploratory music itself - its balance between conflict and consensus.

In the opening duet, Julian Faultless’ French horn and Martin Hackett’s modified analogue synth never seemed to find common ground. Faultless’ plaintive tones were dragged into the gravity of the squealing and grinding Hackett created by modifying his instrument’s error modes - erratic responses to intermittent electrical contact from a variety of prepared objects. This was a visually and physically fascinating process, but it left Faultless simply mirroring each sound as it overrode the last one.

The third member of the trio, Lawrence Casserley, filtered Hackett’s tones and rumbles – as well as his own wordless vocalisations – through a complex set of filters of his own devising, operated via two iPads and a central keyboard. This had the opposite problem, the connection being so natural that its blend of static and signal seemed almost too familiar.

It was the two instruments ‘furthest apart’ on the spectrum that worked best as a duo, perhaps because that distance illustrated more clearly how Casserley’s equipment worked in the mix – breath and resonance from the horn persisting through all the permutations he could run, unexpectedly creating something reminiscent of the soundtrack to some recherché Polish sci-fi flick, glimpsed drunkenly at 4am on a channel you’ll never find again.

Something in the pairing, however, struggled to sustain what they were creating – the duo found themselves coming to a natural halt so early that they felt duty-bound to the audience to have another go, this time creating a lighter iteration of the same soundscape before once again stuttering to a close.

In the final piece, played by all three, Casserley added actual words to his vocal mix, warping them into a sinister, distant Tannoy announcement as Hackett overshadowed the horn’s pulse with glitch thunder.

The horn dropped out for a middle section, and we were left with the same problem as in the earlier duet – the sounds seemed to become less difficult and surprising. When it returned – Faultless initially using his instrument percussively, the group attained the equilibrium they’d been seeking, closing out proceedings with calm, gestural manoeuvres that left the audience in a few moments of contemplative silence.