A spatiotemporal synthesis of Abdridgements, Observatory Sound, and Sonic Observation.
A nesting time capsule that cycles
Folded time and layered space
Sound, mechanical rooms, time travel
Refraction, Reflection, and Diffusion
Rotation, Turning, and Flux
A spatiotemporal synthesis of Coppice’s auditory and musical experiments (2009-2022) with custom, prepared, and modified musical instruments and devices.
This 3CD set abridges Coppice’s first three studies, artificially inserts them into the Yerkes Observatory in Williams Bay, WI, and binaurally captures their diffusion across Elastic’s CLEAT (Chicago Laboratory for Electroacoustic Theatre), a 16-channel 96-speaker sound system.
Read digital liner notes: Lightyears: Exploded/Collapsed Auditions for Test Audiences and Technics.
Composed by montaging audio quotations from Coppice’s first two studies, «Circumpass» representing Bellows & Electronics (2009-2014), and «Compass» representing Physical Modeling & Modular Syntheses (2014-2018). Representing Phonography & Fiction (2018-2022), «Hourglass» abridges Coppice’s overarching sonic palette across all three studies (2009-2022). «At the Poles» is a conjunction of two unaltered solo performances, one for an Estey pump organ (cir. 1935, prepared in 2013) by Noé Cuéllar (recorded in January 2014), and one for modular synthesis by Joseph Kramer (recorded in May 2016), each of which has been separated from «Soft Crown» from “Vantage/Cordoned” (caduc., CA, 2014), and «Here» from “Green Flame” (caduc., CA, 2018).
CD2: Observatory Sound
Composed in 2021 using virtual acoustics of the Yerkes Observatory, through which are simulated the diffusions of «Circumpass» and «Compass». Spatial models and field recordings recorded on May 16 and 24, 2018 at the Yerkes Observatory, Williams Bay, WI.
CD3: Sonic Observation
Composed in 2022, combining a binaural recording of Coppice’s performed diffusion of «Hourglass» and «At the Poles» using CLEAT (Chicago Laboratory for Electroacoustic Theatre), a 16-channel 96-speaker sound system, and 2.1 PA system, with additional headlock audio not heard during the performance. Recorded live on July 8, 2022 at 8:43 PM, at Elastic Arts, Chicago, IL.
Voices: Mark Booth, David Toop, NNN Cook, Jenny Vallier. The production of «Sonic Observation» was supported by an Individual Artists Program Grant from the City of Chicago Department of Cultural Affairs & Special Events.
Thank you to Doyal “Al” Harper, Ed Struble, Jesse Wirth, Kathryn Schaffer, Geoffrey Alan Rhodes, The Chicago 00 Project, The Princess Grace Foundation, Seismograf, Jenny Kendler, Brian Kirkbride, the departments of Art and Technology Studies and Sound at The School of the Art Institute of Chicago, Nathan Keay, Mark Booth, Jenny Vallier, Stephan Moore, and Sébastien Gautheron.
Historical rooms that are obsolete machines.
Recorded in May 16 and 24, 2018 at the Yerkes Observatory, Williams Bay, Wisconsin.
Composed in 2021 using virtual acoustics of the Yerkes Observatory, through which are simulated the diffusions of the works Circumpass (2013) and Compass (2018), each of which abridges Coppice’s studies in Bellows & Electronics (2009-2014) and Physical Modeling & Modular Syntheses (2014-2018), respectively.
A manufactured sonic frame.
Founded in 1892 and known as the birthplace of modern astrophysics, the Yerkes Observatory in Williams Bay, Wisconsin ceased operations in 2018. That year, its mechanical technologies were captured by Coppice (Noé Cuéllar and Joseph Kramer) to draw parallels between its acoustic signatures and functions, and those of Coppice’s glossary of study since 2009.
Musing on the lack of delimiting frames (Chion, 2016) and vanishing point (Carpenter and McLuhan, 1972) in the auditory, Coppice manufactures a frame out of Yerkes’ architectures and acoustics. Within that frame, Coppice’s creative processes are anecdoted, while pointing to coordinates where conjunctions of its music may be found. Highlighting the intermediary influence of recording and reproduction technologies on perception and perspective – both in limiting and enhancing ways – open-ended questions of actuality and fiction are posed.
In this self-reflexive documentary experiment of music and phonography, obsolescence and preservation are creative resources that span from instruments and devices to shapeshifting spaces. Addressed directly, the listener observes sonic identities in flux, and finds footing through retrospection, projection, and imagination.
Coppice’s sonic artifacts in alignment with Yerkes’ telescopes intersect multiple domains of time, space, and scale. How is experimental music conceived over time and what is seen through it?
Listen to the peer-reviewed audio paper on Seismograf.
Read the script on Issuu.
An asymmetrical emblem of balance.
Chrome/Boundaries reports the long distance realities of documentation. Its images assimilate sight and hearing and the mechanics of audiovisual/information frames – relations at times incongruous. Things we see but do not hear, things we hear but do not see-through.
Executed, composed, and presented during Syros Sound Meetings’ Sounding Paths Residency (Ano Syros), and in Athens, July 2018.
Studio and live versions of Wet Hologram.
Digital accommodation for songs with concrete voices.
Post-industrial device music.
A chiral object of memory.
Music for driverless dream cars on their self-driven way to the junkyard.
Fake air was modeled between 2015-2016 and used in many Coppice compositions of that period. Read about and listen to Fake Air Storage at Noemata.
A molten image of songs, falsehood, and deflection.
Sensual music for a folding world in which songs are directions to look.
An object induced by manipulated magnetic fields.
Blueberry is an object induced by manipulated magnetic fields.
Opportunities to receive Blueberry were extremely limited; none remain available at this time.
For more information, please visit suppedaneum.com
Territory sees digitally held air seeing edges holding.
A story with many holes.
A proposed “idealisation” of experience of parts.
Previously unavailable on our Bandcamp is now Bypass Ideal, a cassette tape originally released by Hideous Replica (UK) in 2015 (sold out on our end but still available via their Bandcamp).
The two sides of the cassette tape present each instrumental part in isolation, on opposing sides, to evade the intended mode of listening of the piece as a duo performance. Instead, we offer a retrospective listening. We call this listening separation Bypass Ideal.
For this occasion, we have added a bonus track, Bypass, which juxtaposes both sides of the tape in simulation of the original live performances for heavily amplified prepared pump organ and Modified Boombox that this release is based on.
Please enjoy at high volume in a dark room.
Series of remixes, interventions and interpretations of Hoist Spell.
Studies, alternate takes, and live versions from the Big Wad Excisions sessions.
Ex includes an excision of the original board photographed for the Big Wad Excisions artwork, a CD-R with studies, alternate takes, and live versions of material revolving around Big Wad Excisions, and a handwritten carbon note. The twenty copies produced were offered in support of Coppice’s Compound/Excisions tour in March 2014.
Accretion, excision, nostalgia.
A navigable composition for software.
Soft Crown Transparencies is a ‘navigable composition for software’ that repositions the listener in a new type of active listening. It provides coordinates for engaging shifts of vantage point (as all sound layers develop in time) through a navigable vertical axis on the screen. Multiple sectors are accessible for close listening of different points of the interior of the prepared pump organ and of the multiple generations of tape processes.
Soft Crown Transparencies isn’t a game or a tool. It invites the listener to figure a porous journey through a listening format that they can intersect as the music unfolds – to obtain finer details of the music’s materialities and to localize additional audio not found in the stereo mix of Soft Crown.
Size: 252 MB
© 2014 Coppice
Compatibility: MacOS 10.6.8 or later
(Currently not available for Windows OS)
Special thank you to Mathieu Ruhlmann, and to Joey Beaver, Cole Friel, Ryan Hogg, Anthony Martinez, Tim Mena, Brad Nayman, Phil Pobanz, Brent Reardon, and Kyle Schroeder for their help in the construction of portions of the Estey Expander Module electronics present in Soft Crown.
Two cordoned-off vantage points.
A special thank you to Joey Beaver, Cole Friel, Ryan Hogg, Anthony Martinez, Tim Mena, Brad Nayman, Phil Pobanz, Brent Reardon, and Kyle Schroeder for their help in the construction of portions of the Estey Expander Module electronics.
A summer amalgam.
Compound Form is a composition for amplified prepared pump organ (Kinder) and tape processes in an extended musical arrangement of various compositions.
Bramble (2012), Scour (2009), So Lobes Drape As Such Gills Over A Hanger’s Pit (2013), Pivot (2011), While Like Teem or Bloom Comes (Tipping) (2012), and Brim (2009) are present in Compound Form.
Compound Form was performed numerously in Chicago and throughout tours. Its instrumentation sprung compositions that formed the core of Coppice’s live repertoire between 2012–2014, staged stereo recitals presented close-up to the audience.
Recorded live on October 26, 2012 at the crow with no mouth series, Studio Z; St. Paul, MN.
What is kept in.
Artifacts on tape pulled from cassettes used in a dual tape-processing device.
All index transfers are artifacts on tape pulled from cassettes used in a dual tape-processing device. Side B contains a sequence of trio performances of Seam (2010), recorded between 2011-2012 in Chicago. In order of appearance: Carol Genetti, Sarah J. Ritch, Berglind Tómasdóttir, Julia A. Miller.