Ideologic Organ

GRIEVING FIGURE

MAP THE PATH

BELLS ON A BRANCH

CRAWLING ASHORE

SOUNDING A VOID

HEAVY WITH FRUIT

MY EVE MY DAWN

Music composed by Kali Malone

Bach Organ - Kali Malone 

Cello - Lucy Railton

Guitar - Stephen O’Malley

Recorded at Thomaskirche, Leipzig - August 2025.

Recorded & Mixed by Francesco Donadello. 

Recording assistance by Samuel Schwenk. 

Mastered & Cut by Matt Colton at Metropolis Studios, London - March 2026.

Design by JS Aurelius 

Photography by Kinglsey Ifill 

Liner notes by Jonathan Williger

      

IDEOLOGIC ORGAN

SOMA078  

℗&© 2026 IDEOLOGIC ORGAN

Special thanks to Thomaskirche & Maren Glockner, La Biennale Musica di Venezia & Lucia Ronchetti, Basilica di San Pietro di Castello & Claudio Micconi, Uppenbarelsekyrkan & Kerstin Börjeson, Stephen O’Malley, Lucy Railton, Francesco Donadello, Matt Colton, Kingsley Ifill, JS Aurelius, Jonathan Williger, Nora N. Khan, Bartolomé Sanson, Regina Greene, Lisa Wells, Charlie Colton, Gerald Woehl, Bells Echo, Silvia Farago, Nick Wood, José Ortega, Hildur Guðnadóttir, Sam Slater, Sam Shepherd, Jan Börjeson, Grace Atkinson and Agnes Gryczkowska. This project was carried out with the support from Stim.

Kali Malone’s music reminds the listener that spectacle is felt in the chest. Its otherworldliness, represented by its scale, duration, and presentation in spaces defined by the aesthetics of transcendence, activates intimately held feelings of wonder and insight. Here is a space where sound can unlock a state of reflection and unwavering tenderness. Still, the creation of that music, Malone’s own experience of it in performance, has been one defined by focus and rigor, by adherence to structures that dictate cyclical returns and the detailed work of exploring microtonal harmony. For all its grandeur, her music is elemental at its core: born of sweat, concentration, the physicality of pipes vibrating as air rushes through them, the desire to share the emotional intensity ignited with each tonal shift. 

Burning Song, Malone’s first new album of solo compositions since early 2024’s All Life Long, represents a transformation in her compositional strategy towards a process that is more intuitive and direct. Feeling supersedes matrices, and each piece proceeds linearly, connected to one another by subtle bridging tones. The album was recorded at the historic Thomaskirche in Leipzig, Germany, where J.S. Bach was cantor for the last 27 years of his life; his body rests beneath the sanctuary. Malone is the first musician to perform contemporary works on the church’s Bach Organ, an instrument completed in 2000 but with bespoke tuning and temperament systems based on historical norms of the baroque period. She is joined by Lucy Railton on cello and Stephen O’Malley on bowed acoustic guitar, the same trio that honed a profound connection based on deep listening through the development of Malone’s work Does Spring Hide Its Joy. Recording took place over the course of two late nights in August 2025, with the engineer Francesco Donadello placing over 20 microphones throughout the room and closely upon the instruments, allowing the listener to locate themselves within the music as it fills the historic sanctum. 

Chord follows chord, each in slow succession, emerging like stones of various shades and shapes on a winding path. 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. By discarding canon form, which has dominated much of her organ work, there is a clear sense of freedom that allows these pieces to unfold more gradually and speak more declaratively than ever before. Even with the presence of one of the most canonized and dissected composers of all time just underfoot, Malone felt the pressure of tradition lifting, an ease of being dictating the flow of the music. She is careful to never extend the narratives of any individual piece beyond what feels conclusive, resulting in a relatively compact cycle of compositions. 

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. It was the first time Malone had used the piano as a compositional tool since her childhood, offering a portal to a younger self. 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 metaphor of burning holds two meanings. Fire moves in ways that appear intuitive, changing shape moment by moment, and relentlessly insistent. Here, Malone moves from harnessing the fractaline beauty of mathematics to reveling in the impact of feelings, of foresight, of something more undefined and from within. But burning is a process of change in which transformation spreads from a nexus point to rapidly consume whatever it encounters. The freedom found in the process of composing and realizing Burning Song is one that opens innumerable doors of possibility. In the fertility of ashes grows whatever comes next.

–Jonathan Williger