Territory sees digitally held air seeing edges holding.
A non-narrative glance.
A story with many holes.
A stage projection.
Video projection accompanying live performances of Bypass, for amplified pump organ and tape processes. The music can be found (separated) in Bypass Ideal (Hideous Replica, UK)
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.
Fibrous processing of tabular appearances.
Recorded 2011-2012 in Fljótstunga, Iceland and High Concept Laboratories, Chicago. Thank you to Halldór Heiðar Bjarnason & Lilián Pineda.
Since late 2009 we have developed compositions using a modified boombox – a tape loop machine that records and plays back simultaneously. Sounds that enter it are released within seconds, sounding gentle feedback. Our first compositions using this boombox and a shruti box marked the beginnings of our collaboration as Coppice, and a phase of up-close entwinement of both instruments in decidedly quiet gestures. Since then, we have expanded our dynamic palette and range of instrumentation to include more bellowed instruments, custom instruments and other electronic processes.
Last Fall we began imagining what has become Pied, a composition for tape, pump organ and the boombox. Its form contrasts the tapes’ fibrous processing with the more tabular appearances of microtonal pump organ transpositions – performed quietly but loudly amplified to bring out interferences and resonances by means of the original microphone techniques.
On one hand, Pied is a stark display of our sounds as solo artists, but in a borderline duet: five pump organ sections (recorded in Summer 2011 at Fljótstunga, Iceland) alternating with their boombox mediation and trails.
On the other hand, developing this piece at High Concept Laboratories has been a careful and entangled collaborative process, working directly with tape, scoring multiple generations of processing, and using a variety of acoustic resonators for coloration.
Although our compositional ideas may be fixed, the boombox’s response to these ideas is inherently oracular. Sections of Pied switch between several takes of the same content on tape, each sounding completely different from the other. We decided to keep many sonic incidentals and utterances across the many coats of the boombox’s reflections, also as a way to reveal the audible transparencies in the tape that didn’t erase. Towards the end of the piece, a snippet of our piece Seam seeps through the layers (what may perhaps be a recording from a performance in November of last year).
It is in this dendritic way that our work continues to develop, with fractions of past works refracted, and with certain sonic aspects highlighted at the expense of others.
Three perspectival accounts.
Track 2 was recorded live at the Packer Schopf Gallery in Chicago on November 20, 2011. Tracks 1 and 3 were recorded live at the Joseph Bond Chapel, University of Chicago on September 6, 2011, including room recordings by Greg O’Drobinak.
Track 2 features Andrew Furse’s Apiary, a double-feeder, double bellows free-reed aerophone. It contains two independent/identical air reservoirs with interchangeable reed-board tops. Sounds are obtained by opening small wooden slides that cover holes directly above block-mounted reeds. The feeder bellows are hand pumped and fill opposing wedge-shaped reservoirs pressurized by spring force. The air chest constitutes a near entirety of the instrument where all bellows and reed-boards are mounted. Folding legs allow the Apiary to be easily transported and played either sitting or standing. Construction details can be found here.
Tape split with N.N.N. Cook
A flattening of dimensions for home listening.
Information about the original performed installation can be found here.
Vinculum (Coincidence) includes the recordings S-1 02.01 004:44, S-1 03.01 005:36, and T-M 01.01 003:50 from Vinculum, Coppice’s archive of sonic artifacts. The studio arrangement for CD was developed between May 2011 and November 2012. The accordion duo score recordings were engineered by Todd A. Carter in June 2011 at Experimental Sound Studio in Chicago.
Thank you to Maritza Bautista, Chelsea Culp & Ben Foch, Rodion Galperin, Guillermo Gregorio, Emily Green & Nick Wylie, Meg Kramer, Marinos Koutsomichalis & Akis Sinos, Julia A. Miller, Jenny Vallier, Tricia Van Eck, and to the audiences that varied and constellated the composition.
Coppice and the Baschet Brothers' Aluminum Piano.
Recorded live as part of Crystal Baschet Concerts in conjunction with the exhibition Motor Cocktail: Sound and Movement in Art of the 1960s at the Museum of Contemporary Art in Chicago on August 26, 2011.
Free reeds, processed reeds.
Information about the original performed installation can be found here.
A fixed perspective that offers no choreography for present bodies.
Music that only works together.
Recorded live at Philip von Zweck's Something Else Radio Program.
Coppice's archive of sonic artifacts in handcrafted editions.
Vinculum is Coppice’s archive of sonic artifacts. It collects different perspectives of air and edges of a shruti box (a small bellowed organ), accordion, tubing, sphygmomanometer, and funnels. Sounds were recorded and reduced to highlight some aspects at the expense of others.
The archive is resource for a series of “performed installations” that study the relationships between audio and audience in spaces: Copse (2010), Vinculum (Courses) (2011), and Vinculum (Coincidence) (2011); and the relationships between audio and objects: A Vinculum Variation (2012), Vinculum (Passes) (2012), and Vinculum re: Screens for Mutual Attractions to Related Objects (Some Impossible) (2015).
Selections from the Vinculum archive are present in many other recorded compositions, most notably The Pleasance & The Purchase (2010), Bluing/Blueing (2012), Soft Crown (2014), and Bramble (2012).
Between 2010–2016 Vinculum was offered as unique/made-to-order hand-embroidered pouches stuffed with three different CD-R’s inscribed with their catalogue number, and additionally as individual discs in hand-painted sleeves. The listener is encouraged to play the discs simultaneously on repeat using multiple players when possible.
2012’s Vinculum Specimen Edition collects twelve CD-R’s housed in wooden boxes custom-designed and handcrafted by Andrew Furse, in an edition of five. The edition is featured in Stuart Tolley’s book Collector’s Edition: Innovative Packaging and Graphics (Thames And Hudson, 2014). The contents of each box are:
Supporters of Vinculum in 2013 were offered a Vinculum Blowing Kit, containing a free reed, brass and plastic tubes, a cork-USB containing an obviously produced memory, and Red Scroll, a short video and 32-page PDF, all stuffed in a tall hand-embroidered Vinculum pouch.