"Two archtops manist artistly and boldly handled by two experienced improvisers, two acoustic guitars on which the six strings are stretched on a bridge. There is no "s" in the plural of "Without ShadowBecause, when there's zero shadow it's like there's one, the French language having already started its way before our ancestors adopted zero as the numeral value before the numerals'. Also, neither of the two guitarists casts a shadow over the other, because they play tied without being able to distinguish who plays this and the other. Eric Mimosa and Christian Vasseur improvise together nine pieces with nonsensical titles, both beat and intriguing, such as Serpent Pois-Chiche, Tonitruant Mangemots, Bloody Papy Roulette, Papillon Biscotte or Roule-Shite, in the form of anarchic counterpoints, wild geometric differences, hyperactive obsessions, ostinatos convolved interlinkages, detailed noises to the extreme or hanging dreams resonant over the void of silence. Playful mantra of guitar delirium. Both use non-conventional alternative techniques to achieve novel expressiveness in an exploratory dimension. I particularly like the Bloody Papy Roulette, a collective construction where their fingering and imaginary merge wonderfully, thus giving us the keys so that our listening candid more easily into the other rooms proposed here, some guided by real "visual" narratives. Headless roller is another pair of sleeves. Christian Vasseur - He is a must-see activist from Mons in Baroeul in the great suburb of Lille. He has already given us several rewarding and husked sound testimonies in these lines. Fantastic to have encountered a super alternating like Eric Mimosa, because the sum of their talents is superlative. What a team ...."-Jean-Michel Van Schouwburg, Orynx Improv Sound (translated by Google)

"Many different types of guitars fall under the archtop designation, but whether fully or semi- acoustic, and with or without electronics, they share distinguishing traits. An archtop's soundboard is carved from a single hunk of wood (usually composed of two pieces that are book-matched and joined together), with the top arched upward away from the back and sides, as on a violin. The back is often carved in a similar manner, but some archtops have flat backs. Archtop soundboards are typically constructed of spruce; the backs and sides are maple or, less commonly, mahogany, walnut, or other tonewoods. An acoustic archtop borrows other features from the violin family, including opposite-facing f-holes (though some archtops have more traditional soundholes instead), a floating bridge, and a rear-mounted tailpiece.

The design of the modern archtop is most commonly attributed to the luthier Orville Gibson. In 1898, Gibson applied for a patent for a mandolin and guitar design, intended to utilize the aforementioned features to enhance "power and quality of tone." Early Gibson archtops, like Gibson's L-1 and Style O, featured round or oval soundholes. The year 1923 saw the release of Gibson's first Master Line L-5 Professional Model, which would become the benchmark for all archtop makers. While the L-5 shared some characteristics with previous models, like a 16-inch lower bout and an adjustable bridge (a feature first seen on Gibson mandolins in 1921), it sported some bold new elements: a pair of parallel tone bars for soundboard bracing, f-holes, and an elevated fingerboard. It should be noted that while the L-5 is often credited to Gibson's "acoustic engineer," Lloyd Loar, who signed the labels of the earliest examples, his role in the instrument's design and construction has in fact been called into question as marketing hyperbole."-Acoustic Guitar