Duch played one longish (didn't take the time) entirely improvised piece, as well as Howard Skempton's composition For Strings (waves, shingles and seagulls). As you may gather from that, he works as much, if not more, within improvised new music slash contemporary music as he does jazz, though by now these musics can hopefully be seen as extending into each others idioms. Duch uses pretty much every part of his instrument to create sounds; largely playing arco with his right hand, he plucks, slaps and scratches with his left, while occasionally also hitting the body of the instrument. Much of his arco work happens near the bridge, which creates sharp and shrill sound, but he shifts effortlessly into "cleaner" territory. Inventive music, nevertheless.
Møster started his session just breathing through his tenor sax, which built into a hushed, gospel like passage, eventually raising in intensity into a shout of sorts. From there, the piece gathered pace into something reminiscent balkan folk music, and ending in punk-like rapid screams and honks, Møster working the flaps for percussive effect. The result wouldn't have sounded out of place with duo Lightning Bolt.
Duch and Møster joined up for an encore, the bassist now mostly playing pizzicato, creating rumbling, free rolling sounds and patterns. I kept paying so much attention to him that Møster, now having switched to baritone sax, dropped into the background except from when they hooked up down in the lower registers.