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The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone's experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. 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Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L’Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eKali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMalone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAll Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamban’s essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. 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Shifting currents of air pressure emerge from the manually pumped organ, enriched by the cello's finely drawn harmonics to form a microscopic and granular perspective of timbre. Interference patterns spin the sound mass as Malone and Bordreuil play against the stillness of sine waves. Church bells ring in the distance. Undulating feedback gives rise to insistent calls from the organ before yielding to a tragic cello motif. The album then closes with the brief and jubilant pizzicato exclamation, \"Endless Dance of Eternal Joy.\" Recorded by candlelight at the Temple de SaintThéoduoe in La Tour-de-Peilz in Switzerland, the music balances patience and intensity, composition and chance, severity and tenderness. In this collaboration, new facets of both artists come to light: Bordreuil's playing with heightened tonal and formal clarity, and Malone's organ work in it's most raw and textural form. Music for Intersecting Planes is a meeting of minds honoring the timeless intrigue of acoustic phenomena.\u003c\/p\u003e\r\n\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eLabel: Ideologic Organ\u003c\/li\u003e\n\u003cli\u003eGenre: Electronic\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Kali Malone","offers":[{"title":"Default Title","offer_id":45676525355206,"sku":"7CILNC-F2AQ-00","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/music-for-intersecting-planes-red_1aFxR.jpg?v=1775102013"},{"product_id":"pre-order-burning-song-cd","title":"PRE-ORDER: Burning Song [CD]","description":"\u003cp\u003eBurning Song, composer and organist Kali Malone's first new album since 2024's All Life Long, represents a transformation in her compositional strategy towards a process that is intuitive and direct. 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The trio moves as one, stepwise, through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ's upper register.The first half of Burning Song was commissioned for the 2023 Venice Music Biennale and presented at the remarkably ornate San Pietro di Castello. Initial seeds of these pieces were developed on a piano backstage at Bozar in Brussels following a solo electronic performance, long after the audience and staff had departed. The album's final three pieces were composed swiftly in the month preceding the recording session in 2025, their stately progressions emerging within her mind's ear with a sense of ease and inevitability, hovering in the moment just before understanding, where revelation lives. The album's final piece, \"My Eve My Dawn,\" represents a clear vision of this process; foregrounding the cohesion between endings and beginnings, it moves through passages of sadness and joy, the linking tones offering a sense of continuity, and thus of acceptance. The freedom found in the process of composing and realizing Burning Song is one that opens innumerable doors of possibility. 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The trio moves as one, stepwise, through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ's upper register.The first half of Burning Song was commissioned for the 2023 Venice Music Biennale and presented at the remarkably ornate San Pietro di Castello. Initial seeds of these pieces were developed on a piano backstage at Bozar in Brussels following a solo electronic performance, long after the audience and staff had departed. The album's final three pieces were composed swiftly in the month preceding the recording session in 2025, their stately progressions emerging within her mind's ear with a sense of ease and inevitability, hovering in the moment just before understanding, where revelation lives. The album's final piece, \"My Eve My Dawn,\" represents a clear vision of this process; foregrounding the cohesion between endings and beginnings, it moves through passages of sadness and joy, the linking tones offering a sense of continuity, and thus of acceptance. The freedom found in the process of composing and realizing Burning Song is one that opens innumerable doors of possibility. 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