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The music industry being what it is, a thirst for novelty could be dangerous for a pair of musicians like Pascal and Remy Le Boeuf – identical twins who play jazz? Cue up the sleazy manager and restrictive contract! Fortunately, saxophonist Remy and pianist Pascal did the smart thing and established themselves as players and composers under their own names alongside their joint LPs, of which Hush is the latest. As much a conceptual exercise as familial playtime, Hush is an album about sonic intimacy – the instruments were performed quietly and close-miked, so every tiny move is captured in surprisingly detailed form. That means there isn’t a ton of aggression or blaze here, but that’s fine – the melodies the Le Boeufs compose thrive in this environment. Enhanced by bassist Linda May Han Oh, drummer Christian Euman, and saxophonist Dayna Stephens, tunes like Pacal’s “Wedding Planner” and “Susie Song” and Remy’s “State of Conflict” and “Vignette No. 18” depend on group interplay and close attention to the song itself, rather than instrumental firepower. Much of Hush draws from genre-ambivalent composers like Meredith Monk and Harold Budd, but just as much of it sounds like the Le Boeuf Brothers have found their own path to their collaborative future.