The former is the lynchpin of motorik noise merchants The Horrors while the latter’s musical experiences are altogether more serene, but their combined output so far has made perfect sonic sense.
Lunging between Rachel’s medieval choral reference points and the sixties’ girl group pop that Faris loves, their music is unrestrained by people, places or practices.
Over the years, they’ve released one record, prepped another (which is due imminently) and sprung surprise gigs in the mostly unlikely places, from St Peter’s Basilica in The Vatican to Buckingham Palace.
Their latest stint at Her Majesty’s Abode saw them sneak in under the guise of traditional pre-Renaissance musicians and perform in her hallowed halls.
Undeterred by rules and regulations, they frequently cross musical boundaries and buffers, with their latest project, the soundtrack to the Peter Strickland film The Duke of Burgundy, bagging them an Ivor nomination.
We caught up with them at the ceremony last week to hear how they hoodwinked The Vatican and learn the merits of late-night music sessions…