Kali Malone – The Sacrifical Code
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Kali Malone’s ‘The Sacrificial Code’ – a major work featuring almost two hours of concentrated, creeping organ pieces. ‘The Sacrificial Code’ provided us with precious mental refuge just as the world started to spin out of control around us. It’s an album that somehow slowed everything down, allowing us to take notice of every slight movement, as if every minute shift in sound became magnified through stillness. It’s a stunning realisation of ideas borne out of academic and conceptual rigour, with a perception-altering quality that encouraged exploration without a preordained endpoint – the antithesis to the language of colourless musical platitudes we’ve become so accustomed to.
‘The Sacrificial Code’ takes a more surgical approach to the methods first explored on last year’s ‘Organ Dirges 2016 – 2017’. Over the course of three parts performed on three different organs, Malone’s minimalist process captures a jarring precision of closeness, both on the level of the materiality of the sounds and on the level of composition.The recordings here involved careful close miking of the pipe organ in such a way as to eliminate environmental identifiers as far as possible – essentially removing the large hall reverb so inextricably linked to the instrument. The pieces were then further compositionally stripped of gestural adornments and spontaneous expressive impulse – an approach that flows against the grain of the prevailing musical hegemony, where sound is so often manipulated, and composition often steeped in self indulgence. It echoes Steve Reich’s sentiment “..by voluntarily giving up the freedom to do whatever momentarily comes to mind, we are, as a result, free of all that momentarily comes to mind.”
With its slow, purified and seemingly austere qualities ‘The Sacrificial Code’ guides us through an almost trance-inducing process where we become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it’s a uniquely satisfying exercise in transcendence through self restraint – a stunning realisation of ideas borne out of academic and conceptual rigour which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self exploration free of signposts and without a preordained endpoint – the antithesis to the language of colourless musical platitudes we’ve become so accustomed to.