** Limited edition of 500 in Double Translucent Vynil. Includes postcard. ** Infinity Gradient is the latest evolutionary leap in the creative trajectory of Tristan Perich, here in collaboration with renowned organist James McVinnie. Conceived as a symphony in seven movements for organ and 100 speakers—each speaker driven by its own custom 1-bit electronic circuitry—the piece actualizes Perich’s vision of a new orchestral language, one equally concerned with the granular mathematics of signal and the boundless, resonant breath of one of music’s oldest instruments. Recorded at London’s Royal Festival Hall, the work immediately establishes its immense spatial signature, with Perich’s electronics forming a pointillist, immersive canopy around McVinnie’s sweeping organ lines.​

From the opening, the organ’s glacial chords and processional motifs are set against swarms of individually programmed micro-rhythms, each speaker contributing an independent voice to a complex, evolving ecosystem. This approach foregrounds both the inherent rigor of Perich’s mathematical sensibility and the organic, architectural presence of McVinnie’s playing. The piece moves fluidly between moments of relentless drive, as in its densely layered melodic strata, and passages of striking delicacy where electronic timbres echo the vivid coloring of organ stops, giving the music a kaleidoscopic dimension. There are clear echoes here of Perich’s prior hybrids like Drift Multiply and 1-Bit Symphony, but Infinity Gradient amplifies the scale, deploying vast arrays of pattern and resonance with new emotional and physical impact.​

McVinnie’s presence is essential; his command of the organ’s broad dynamic and tonal spectrum anchors the work, providing both a human counterpoint and a catalytic force for the electronics. Throughout, Perich’s signature 1-bit soundworld does not diminish but rather amplifies the physicality of McVinnie’s performance, drawing subtle connections between the digital and the corporeal. The seven sections accumulate into an experience that is at once cerebral and immediate, placing the listener within a living network of sound, continuously negotiating between the monolithic and the molecular.​With Infinity Gradient, Perich and McVinnie expand the boundaries of contemporary organ and electronic music. They create a space in which ancient mechanism and modern computation intermingle, generating textures and forms that are at once austere and intensely expressive. This is a record that rewards both focused listening and immersion, its scale matched always by a keen attention to sonic detail—a compelling new chapter in the ongoing conversation between technology and musical tradition.