The US minimalist, acclaimed for her organ works, on moving beyond the instrument, the science of sound – and taking inspiration from the mountain ranges of her Denver youth
’s rare ARP 2500 synthesiser: density builds through a melodic cycle; pitches cluster, roaring, occasionally breaking free to soar skyward. It has a glorious goth residue, resisting the feel of squeaky clean concert-hall classical.Photograph: Victoria Loeb
Moving away from organs, Does Spring Hide Its Joy is her best album yet: a collaboration on which Malone plays tuned sinewave oscillators, with Lucy Railton on cello and Stephen O’Malley of Sunn O))) on guitar. The time-stretching, tuning-based piece illuminates what it is to surrender to sound as it masses around you. “I didn’t want landmarks that anchor your memory of the music,” she says.
Malone, centre, with Stephen O’Malley and Lucy Railton, her collaborators on Does Spring Hide Its Joy.Malone grew up mostly in Denver, where she sang in state choirs, studied classical vocal music, then discovered gigs age 13. “I was a very independent kid, with not so much supervision, and very adventurous,” she says. She moved to Massachusetts alone to study music, then boldly to Stockholm, aged 18, after becoming friends with Swedish avant-garde composer Ellen Arkbro.
She studied electroacoustic composition at Stockholm’s Royal College of Music, where she found a fertile cohort including Arkbro, synth musician Caterina Barbieri and Maria W Horn among others. Stockholm provided access to rare synths at EMS, and she began working as a technician at experimental venue Fylkingen .
Malone’s organ fixation started when she interviewed organ tuner Jan Börjeson while studying. She began apprenticing with him, climbing inside the bellies of these mechanical whales. She was fascinated by their clacking, wheezing physicality, but also by the possibilities of tunings. “Holding down two notes, the beating patterns that then occur reminded me of what I was searching for in my electronic music,” she says.
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