The work was created out of a shared enthusiasm for drone music and eternally sustained tones, meditation and contemplation. Stone And Worship consists of four pieces, exploring complementary and interactive ground between minimalist drone music and instrumental/vocal gestural narratives. Structurally, these pieces are based around a specific modulated fundamental frequency, across which all other elements revolve ∞, sculpting the spectrality of the fluid terrain. Physical gestures, phrases, chants are dancing on the elemental bedrock. Facets of sacred music are woven into the structure(s) of the pieces; contrasting with the absence of pulse, blurring the perception of time and corporeality. The subject is standing still; the gestures moving around them. 

Primož Bončina’s interest in prolonged durations has been more substantially focused on the electric guitar, amplification techniques and its ensuing tonal and extended spectral possibilities, weaving an unwavering minimalist metallic approach. Phil Maguire’s minimalist work stems from deep exploration of bass frequencies, intuitively determined harmonic series, and volumetric mass influenced by late 20th century minimalists and Fluxus strategies. With the underlying core of the album sessions recorded in the cellar of a former Catholic seminary, Stone And Worship sees the two artists converge their respective practices and approaches in several longform pieces. The monastic environment proved to be influential in producing a different kind of canonical work, detached from service to a particular dogmatic narrative and focusing on a more elemental process of awareness, reflection, observation, and growth. 

A living, undulating, and breathing core, the pieces were further developed with arrangements for synthesizer and electric guitar, and contributions from guest vocalists. The first piece, Dolorosa, brought Golem Mécanique into the fold with her hauntingly rich and open vocal rendition, the entire piece reminiscing of a gothic drone mass, circling around the christian icon of Mater Dolorosa, the “Mother of Sorrows”. The second part, possessing a timbral quality of an organ piece for a dystopian future, sees Dylan Desmond of funereal doom ensemble Bell Witch provide a meditative channeling of an “orthodox druid” in a circular choir. The final piece, divided across two tracks, sees the duo distill and explore the essential elements, building and assembling a storm of timbre and sonic mass.