After making several silent non-narrative feature films, Maria Klonaris and Katerina Thomadaki turned to sound creation in the early 1980s. With their film and expanded cinema performance Unheimlich III: Les Mères (1980-81), commissioned by the Musée national d’art moderne, they introduced a minimal sound vocabulary consisting of texts written and performed by themselves in two voices, mixed with collected sounds. The presence of their voices echoes the practice of self-representation that marks their films. They went on to develop a specific sound language (alpha waves, high counter and child soprano voices, etc.) for their pioneering installation Mystère I: Hermaphrodite endormi/e at the Musée d’art moderne de la Ville de Paris, which was followed by the film noir universe and rock sounds of their Orlando, inspired by Virginia Woolf’s Orlando and performed at the Centre Pompidou in 1983. This was followed by Le rêve d’Electra, their first sound creation to be entirely digitally recorded and mixed in 1984.