In 2016, Le Pot completed the She–Hera–Zade trilogy with Zade, a strikingly minimal album of purely acoustic works. Its eight pieces pick up where Hera left off. The trilogy’s second part—recorded in 2014 in the fortified church of Raron and released in 2015—wove treatments of classical material (including “Requiem aeternam” from Britten’s War Requiem) into melodious lines, colour, and jazz-tinged pulses. By contrast, Zade pushes a vocabulary of whirr, clang, zing, and thrum to its radical conclusion. The finale feels like a swan song, an endgame: instruments enter with utmost restraint, leaving vast open space and elastic time. In “Open Out,” a tolling piano note expands and contracts the moment; the trumpet answers like a solitary reminder, while drums and guitar preserve the fabric with a few exacting gestures separated by long rests. The effect is less performance than eavesdropping—sound on the edge of a profound, prevailing silence.