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From<\/strong> New York and London There\u2019s something about the pipe organ that keeps experimental musicians going back for more. No other acoustic instrument pierces and shakes the air in quite the same way.<\/p>\n Composer-performers such as Kali Malone, Jonny Greenwood, Ellen Arkbro, Sarah Davachi and Kit Downes are just the start. An experimental organ culture has grown in the UK thanks to events like Organ Reframed<\/a> at Union Chapel in London (which over the past decade has commissioned music from composers including Mark Fell, \u00c9liane Radigue and Hildur Gu\u00f0nad\u00f3ttir) and the fantastically named Bristol concert series Mainly Slow Organ Music, as well as adventurous organists such as James McVinnie.<\/p>\n Infinity Gradient is the latest in a growing canon of initially serene organ music that later reveals depth and grit. An hour-long piece for organ and 100 loudspeakers, it was composed in 2021 by New York-based composer Tristan Perich, and performed with McVinnie at London\u2019s Royal Festival Hall in 2024. After an opening flourish, the piece is arranged in seven sections but, in essence, it works through a handful of stretched crescendos.<\/p>\n
Recommended if you like<\/strong> Kali Malone, \u00c9liane Radigue, Caterina Barbieri, Burial\u2019s Comafields
Up next<\/strong> Infinity Gradient album out 21 November<\/p>\n