Super Tip! Music for Intersecting Planes is the document of a night inside a church, with nothing between sound and stone but breath and darkness. Recorded at Temple Saint‑Théodule in La Tour‑de‑Peilz, Switzerland, by candlelight, the duo of Leila Bordreuil (cello, feedback) and Kali Malone (Liardon/Felsberg 1995 organ, sine waves) focuses on the simplest of means: bowed strings, held pipes, pure tones, the grain of the air itself. From these minimal materials, they draw out a music of austere, ritual presence, where every entrance, every decay, and every fragment of environmental noise becomes part of a sculptural whole.

The pieces unfold slowly, “like beads on a thread,” each gesture separated by silence and the audibility of deep breaths. Whispered bellows and organ wind brush against feathered string harmonics; subdued sine waves lock into the cello’s partials, generating interference patterns that pulse across the chapel. Church bells ring somewhere outside; motorcycles move through the distance; the building responds with its own resonances. Rather than excluding these sounds, the duo lets them in, allowing the environment to act as a co‑composer and turning the recording into a portrait of sound in space as much as of instruments in performance.

Performed live in single takes, the music walks a fine line between composure and contingency. Bordreuil’s playing, often associated with extreme texture and noise, here leans into tonality and long‑form shape, while Malone’s famously rigorous tuning and harmonic frameworks are offset by a rawer, more tactile deployment of organ and electronics. The collaboration meets in the middle: more overtly composed than Bordreuil’s usual work, more frayed and textural than Malone’s, yet fully true to both. Across the record, the cello and organ don’t so much accompany each other as intersect, creating planes of sound that glide, cross and slowly realign.

Released by Ideologic Organ in collaboration with La Becque Editions, Music for Intersecting Planes arrives with artwork by Magnus Maxime that echoes its stark, luminous interiority. Recorded by Matthew Franklin and Livio Melileo in 2021, mixed by Tristan Mazire in Paris, and mastered by Stephan Mathieu with lacquers cut by Andreas Kauffelt, the production honours every fragile overtone and distant rumble. Severe yet deeply tender, the album stands as an elemental convergence of two instruments and two sensibilities, tapping into the timeless intrigue of acoustic phenomena and the strange, charged quiet of a church after dark.