For the creators of Kingdom Come, Kingdom Go, uncertainty was not an obstacle but a defining part of the recording process.

According to musician Duguay, the project was built around documenting pipe organs in different locations, often without a clear understanding of how individual recordings would ultimately fit together. The team routinely captured material before knowing how it would interact with sounds recorded elsewhere, creating a production process that relied heavily on adaptation and experimentation.

In some cases, the musicians had not yet heard the instruments that would eventually become part of the same composition. At times, they were unsure whether additional organs would even be available for recording.

That approach required the group to make creative decisions with limited information. When planning arrangements that would feature multiple organs, the team often had to leave space for instruments they had not yet encountered.

“We had to think about how to arrange the music if we wanted multiple organs on the same piece,” Duguay said. “We were recording parts knowing that the next sections might be played on an organ we would encounter a day or two later. We simply had to accept whatever instrument we found.”

The process meant that each recording session introduced new variables. Differences in acoustics, instrument design and tonal character could significantly alter how a composition developed. Rather than attempting to predict those outcomes, the musicians incorporated them into the project’s creative framework.

Duguay said the experience ultimately mirrored themes explored by the album itself. The need to move forward without certainty, while trusting that future elements would find their place within the larger work, became an important part of both the recording process and the artistic message.

“We couldn’t even guess what they were going to sound like,” he said. “We just had to practice a sort of faith.”

One of the locations featured during the project was Memorial United Church in Bonavista, Newfoundland and Labrador, Canada, where the team recorded material as part of its broader effort to document and incorporate the sounds of historic church organs into the album.