This is not to place the choir in an unattainable bracket however. As Peter explains, the aim of the project was simply to get as many people singing together as possible, regardless of musical experience. The relaxed demeanour of the singers and the
occasional unguarded moments of wonder and excitement betray the true nature of the recordings, that they were not made to be works of art in their own right, but rather to serve as a snapshot of a glorious phenomena; documents of a small miracle occurring on Sunday mornings at the Beacon Sound record shop in Portland, Oregon, where for Peter the act of singing became “nothing short of a magical teleportation to another realm”.

As well as the original choir recordings, the album also features a sprawling ambient rework from the endlessly inventive Machinefabriek, which he describes as “a patchwork, connecting and expanding the more dreamlike parts of Sunday Songs into a sea of voices, where it’s unclear where one voice stops and the other
begins.” His jaw-dropping reinterpretation of the source material is informed in some ways by the work of Renaissance composer Josquin des Prez. “When I discovered his choir music not so long ago I realized that ambient music already existed around the 1500s”.