By 2018, Chad and I were living in two different worlds. I had moved to the northeast corner of South Dakota, and his move to Chicago was imminent. But for years, Peoria had been our home base, and Chad’s apartment our studio and clubhouse. The approach was basic: acoustic instruments and keyboards combined with the possibilities of electronic music. The project took on a sense of surprise and adventure, it was also cathartic. We were discovering our sonic landscape, unfolding in real time, every note and production move made in the moment.
So, as 2018 began we were at the end of an era and wondered how we might continue our project. Honestly, we were probably wondering how we would continue our friendship. But after eight months of texts and scattered phone calls, we agreed: we would meet in Albert Lea, Minnesota, the halfway point. The plan was to set up a studio in an Airbnb and see what happened.
Interference was recorded on Friday, August 31, the first night of those sessions. I remember feeling so locked in to the music, fully present. The piece begins with radio static, and the beat, close and textured, driving the music forward. A single piano melody, anxious playfulness, settling down, disappearing, replaced now by an electric piano, hymn chords giving way to the long rise of rhythm, pulled across the sonic landscape like a growing storm, delay and reverb latching on and sending elements across the stereo image like rain and lightning.
As the music evolves the textures become deeper, complex; the subtle moves that Chad makes within the electronic element take the session in new directions, things are changing and we are going along for the ride and unafraid. And then, the storm is passed and the wall of sound recedes and something new emerges. A new beat and a new instrument are taken up, moving forward into a slow fade. We surrendered the moment and leaned back to rest, knowing we had just come through something significant.
And we were back living in the same world.
Patrick Jenkins 2024
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