Primarily relying on the resonant sections of discarded pipe organs, Miłosz Kędra has crafted an album that is something greater than the sum of its jettisoned limbs. In short, repurposing, or reusing, really, pipe organ segments is a kind of aesthetic program within the field of musical composition, something akin to ragpicking in the 19th century. 

Kędra, a young student of electroacoustic music, is surely aware of the heritage of such activities – scavenging his native Poland for pipe organ remnants – and what it means for a way of making music, and perhaps even a way of surviving and world-building, too. The ethos, if there is in fact one to speak of (I am just guessing here, not referring to anything Kędra explicitly said), reflects more than a desire to reanimate that which has been cast off – religion, ritual, community, or something for which we no longer have a name. Giving voice (quite literally) to the forgotten is also an archival, historical project in which sounding is placed alongside other forms of remembrance.