The piano is essentially a system of hammers, and Cecil Taylor once described the piano keyboard as eighty-eight tuned drums. Benoît Delbecq's deployment of electronics alongside the piano can also turn the pianist's drum taps into eighty-eight percussive triggers for unleashing a whole new array of sounds. Together with Argüelles' drums and other percussion instruments, and Becker striking and otherwise manipulating the array of objects that make up the foley's armoury, they are therefore essentially a trio of percussionists.

This is music that mixes the purity of instrumental sound, the electronic distortions and multi- layered complexity of digitally generated sound, and the analogue manipulation of 'real world' sounds, to conjure a simultaneously abstract and referential musical ambience. Foley is a collection of extraordinary music that results from the creative combination of very different traditions of sound making through a unique collaboration.