Musician Michael Cloud Duguay’s new album was born from a mission to capture the sound of the majestic yet increasingly rare instruments
Michael Cloud Duguay and his band of collaborators were nearing the end of their pipe organ tour of Newfoundland when they encountered a hitch in Aguathuna, a town of about 400 people on a craggy peninsula that juts out from the Canadian island’s south-western edge. For the past week, they’d been showing up at old churches in remote communities like this one, preparing their solar-powered mobile studio, and recording instruments both humble and monumental, whose complex systems of keys, stops, hand cranks, foot pedals, bellows and reeds were designed to vibrate the air around them until it approximates the sound of God.
This was all in service of music that was still taking shape in Duguay’s mind. It would eventually form the basis of the Ontario composer’s new album, Kingdom Come, Kingdom Go, a collection of quietly elegiac pieces that doubles as a sort of audio documentary about Newfoundland’s organs and the congregations to which they belong. The music is collaged from recordings that Duguay made on that trip in July 2024, of the organs (which the team documented and will be available as Midi instruments later this summer) but also of church leaders and ordinary congregants talking about their lives, as well as saxophones, flutes and whatever other sounds happened to go by while the tape was rolling. Listening in headphones on a spring day can be mildly hallucinatory: are the bird calls, the rustling wind and the chattering people part of the music or the world outside?
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