'Virgins' exchanges gristled distortion and cavernous sound in favour of a close, airy, more deﬁned palette. At times it points to the theological aspirations of early minimalist music. But it is not 'fake church music' for a secular age, rather something like an attempt at the sound of frankincense in slow-motion, or of a pulsing, ﬂickering ﬂuorescence in the grotto. 'Virgins' was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance. It is an offering of music into the void, a gift of digital ﬁller between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.