39,45 $
Return of the SAD 1024 – Vol I & II
During a 2010 stay in Stockholm, Sweden, Stefan Tcherepnin cold-called
the Elektronmusikstudion (EMS) and began making frequent visits to the
facility’s Serge Modular, the synthesizer system developed by his
uncle. Tcherepnin secured a makeshift residency at the studio, and
soon met Anders Enge, a musician and producer associated with the acid
techno label Börft. For over a decade, the pair have collaboratively
explored the instrument’s outer-limits in the hallowed studio where
figures like Knut Wiggen, Ralph Lundsten, Catherine Christer Hennix,
and Hans Edler have all previously called home, ramping up in 2020,
when Tcherepnin relocated to the country full-time. Only occasionally
have the duo shared their findings with the world, as with the
self-released, tiny-batch tape Troll Slander (2011/2021).
Return of the SAD 1024 Vol. I and II collect a spurt of such
experiments, conducted between 2022 and 2023. At the time, Tcherepnin
and Enge were toying with creating patches based on pre-existing
structures—a painting by Tcherepnin exhibited at his Meredith Rosen
Gallery show, the pair’s daily travels as recorded by Google Maps’
Timeline feature—and refining their outputs. Over four whirring record
sides, the two pay special heed to the Wilson Analog Delay, a famously
slick bucket-brigade module made up of a pair of titular, now-rare SAD
1024 chips. And so the ensuing music is phantasmagoric in more than
one way: ethereal, amorphous, and near impossible to replicate in any
other context. The tracks were recorded live, and are presented here
with minimal overdubs or splicing, save for the occasional overlay of
an AKG-plate reverb unit, leading to a sonic palette that is subtle,
elegant, and ever-expanding—like the nose of a fine wine. -Blank Forms Editions
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| Released | 2024 |
