Berlin-based composer and vocalist FRANKIE, also known as Franziska Aigner, and Dominican-American producer Kelman Duran meet at the Twelve Apostles Church, in the Berlin district of Schöneberg, sometime in 2022, at the beginning of the spring season. They were each asked to engage the space's solemnity, and its reverence, through distinct performances. Their chance encounter, abounding with mutual curiosity towards each other's practices, smoothened the path for a years-long collaboration, culminating in McArthur, their first joint album. Following a period of exchanging musical fragments and prompts at a distance, Aigner and Duran come together in Athens, and later in Los Angeles, to prepare the stuff and material for the album, slowly developing a body of work informed by shared hauntings, and a commitment towards the disjointed and the residual. The result is an album where time and geography are made elastic, and where sonic improvisations become a site for quiet, and cryptic, articulations of intimacy. Throughout the album, there is a double process at play -- that of solitary work on the one hand, and of collective weeding out on the other. "BWV 639" is a reworking of a Bach cantata, the time signature of which Aigner stretches towards a new composition. Pianist Iris Moldiz recorded the part in Salzburg's Mozarteum, dislodging the classical canon into eerie territory. "Techno 127 BPM" invites Aigner's searing cello lines to unfurl over, and carve itself a space within, a skeletal techno beat. "McArthur" anchors a wandering trumpet solo by Zhang Hungtai against a deep bassline. Produced by Duran in Warp Studio, which overlooks McArthur Park in Los Angeles, the piece is an attempt at sketching a horizon of convergence, and of possibility. There is, across McArthur, a stubborn, if not militant, refusal to arrive at completeness, and an insistence on finding potentiality in the thresholds. If unknowability and the fear of extinction appear to rule our present conjuncture, then an accompanying soundtrack worthy of its name should express a determined engagement with, and a generous attunement to, the contradictions at play.