Sainkho Namchylak, a native of Tuva, is relatively well known for her brilliant accommodation of throat-singing techniques to free improvisation, using a body of traditional techniques to create music of extraordinarily expressive power, mixing high-pitched metallic sounds and multiphonics in ways that can both surprise and move a listener. Her partner here, Nick Sudnick, is less celebrated outside of Russia, but he launched the St. Petersburg industrial band ZGA in 1984 and has been a key figure in Russian noise art ever since. An instrument builder as well as a composer and performer, Sudnick won’t make you think of noise here. He’s constructed a series of string and percussion instruments with often delicate sounds and sliding, bending pitches that suggest the music of Harry Partch, setting Namchylak’s voice amidst sounds that are as evocative and evanescent as her singing. The tracks include improvised components, but there’s a considerable amount of computer programming evident in Sudnick’s dense overlays of strings, percussion, and reeds. Play 2 suggests folk sources, while Play 5 has Namchylak concentrating on her upper register, combining with Sudnick’s strings to evoke bird calls. Together the two elaborate a sonic world entirely their own.