If the organ is most often associated with Gothic environs and baroque Christian arrangements, Touch has done a superb job at getting to the, erm, spirit of the instrument. Losing gratuitous ornamentation, the likes of Philip Jeck, Fennesz (with Sparklehorses’s Scott Minor), Oren Ambarchi and Biosphere alternate between towering, overblown drones and celestial glissandos. And yet, despite losing such overt religious trappings, the instrument still can’t help but suggest the all-powerful. Spire’s well named, then.