Coppice has tended emergent music from specific pairings that interact in attraction and opposition. A genreless listening invitation. Specimen Music is unclassifiable music that only exists when listened to.
Coppice was founded by Noé Cuéllar and Joseph Kramer in Chicago in 2009, as an inquiry into the capture and generation of music and its relationship to its physical sources. Its compound studies include Bellows & Electronics (prepared pump organs, shruti boxes, and tape processors) between 2009–2014, and Physical Modeling & Modular Syntheses between 2014–2018 – focusing on the interactions between direct and reproduced sound, and the perceptual links between original and emulated sources, respectively.
With sustained interest in sound’s capacity to cross domains, Coppice crafts pathways between music and technology in a cross-disciplinary language, resulting in work that is an overarching documentation of music in-formation. Operating in cycles of instrument construction and modification, recordings, and live presentations, its productions incorporate sound design, sculpture, installation, software, images, and video.
Between 2009–2014 Coppice studied Bellows & Electronics through reciprocal processes between audio production, spatialization, and composition – a central mixture for the development of live repertoire, performed installations, and discography.
The compositional trajectory evolved as two distinct, they interrelated series, each exploring independent and processed signals, respectively:
On one hand, Vinculum, “a sonic archive of air and edges” that became a resource for a series of performances and installations under the same name. It honed in on themes of flattening and expansion of sounds: their collection as recorded media, and their distribution – as samples integrated on other compositions, and spatially in installations responsive to spaces and audience flow. Such presentations informed studio recordings that reframed those spatial ideas for stereo listening.
On the other hand, a series of compositions for concurrent live and reproduced signals: a self-reproducing music that only works together. The music metabolizes actuality and reproduction with high fidelity microphone techniques and low fidelity analog tape processes. Several side projects evaluated how each of those components sounds in isolation, as well as in alternate configurations.
This series developed as two duo configurations: first prepared shruti box and tape processes, then amplified prepared pump organ and tape processes – each progressing from textural compositions into elaborate and rhythmic embedded musical narratives. The compositional trajectory unfolded as follows:
Coppice’s music for Bellows & Electronics explores the simultaneity of and negotiations between sound’s multiple dimensions as directed by variable points of audition (spatial and technological) and mixed audio fidelities (high and low).
Browse Glossary «Refraction: Bellows & Electronics 2009–2014»
Informed by study in Bellows & Electronics Coppice created a partition in practice in 2014, shifting its focus towards the pairing of Physical Modeling & Modular Syntheses, and classic keyboard instruments such as a 1970’s Fender Rhodes Bass Piano, Wurlitzer 200A Electric Piano, and Korg drawbar organ, each paired with their digital emulators.
The music was developed through live shows, which were presented in decentralized arrangements of multiple speakers. Under the title Newly Cemented Dedication to Freedom, a series of performances utilized speakers of different sizes and types, including guitar amps paired with their emulators on adjacent speakers, causing sonic illusions of original and represented sources to coincide.
The compositional trajectory unfolded in stages, additively resolving into songs that fold in all techniques:
Browse Glossary «Reflection: Physical Modeling & Modular Syntheses 2014–2018»
The fragility of old-age bellowed instruments paired with brittle, modified cassette tape processors yield a documentary-type of listening as framed by the perspectives of microphones. Its musical effects transpire directly from the physical conditions of the instruments and devices and their characteristic restorations, modifications, and/or repurposing.
By nature of its electronic origin, the synthesis music is bound to its relation to the loudspeaker, and the loudspeakers’ relation to spaces and the listener. Its fictions and illusions are inspired by online interfaces, and the traces of screens on memory and the senses.
Coppice’s studies in Bellows & Electronics, and Physical Modeling & Modular Syntheses – scrutinize the experimental-music(al) processes of phonofixation (audio recording through the use of microphones) and phonogeneration (audio production through the use of synthesizers)1 – documentation and representation, respectively.
Through combinations of instrumental restraints, processed and independent sound signals, and mixed audio fidelities – both acoustic and electronic, live and reproduced – Coppice’s musical effects emerge from balances of intentional and incidental causes, and from preparation and modification techniques on instruments and devices that expand their original designs and intended uses.
Coppice’s compositional process originates from the specific conditions and mechanics of centenarian organs and deteriorating tape devices, as captured by microphone techniques. Subsequently, these are substituted by the design and modularity of software and electronic instruments.
The transposition of instruments from one study to the next centers on a match between mechanical keyboard instruments and signal processors: bellowed instruments (shruti boxes and pump organs) become an electric piano (Fender Rhodes Piano Bass, cir. 1970) and aftertouch keyboards.2 Tape processes become signal processors of custom design, used as an effect tool to transform the timbres of electronic sounds into acoustic ones through material transduction.3
Bringing acoustic and electronic signals together in varying degrees, Coppice presents multi-sided trajectories of the emergent processes of sonic and musical abstractions. Its repertoire offers multiple audible perspectives: of instrumentation, of live and reproduced signals, of audio fidelities, and of recurring motifs recontextualized.
Across many different configurations Coppice integrates dated and recent audio technologies, instrument construction and modification, software development, and multi-channel speaker arrays for adaptable performances and installations (at DIY venues, music clubs, stages, outdoor spaces, galleries, and museum halls.) Such presentations have taken into consideration the spaces between performers and audience in variable arrangements of parallel, angular, radial, and decentralized orientations, still and in motion in part of both performers and audience.
Often at the center of live performances, Coppice’s modular sculptures of custom design transduce sounds from the Vinculum archive into copper, brass, galvanized steel, concrete, cork, wood, glass, and acrylic, to re-identify audio’s electronic signals with the acoustic properties of each material.
Coppice presents sounds in isolation, interaction, transition, and interference in musical formations that invite the perception of sonic identity as fluid. The listener’s participation and multiple points of view round off Coppice’s perspective on music.
Parallel to its sonic development, Coppice’s materials are arranged into visual compositions for album artworks, showing objects and artifacts, including instrumentation and its related parts. Music and photographs are both abstract documents that draw viewing and listening towards their shared points of origin.
The videos Circumpass (2013) and Compass (2019) abbreviate each phase through different ways of sampling. Circumpass compiles textures from various recordings into a refractive composition, while its images feature objects and materials from Coppice’s studio (including free reeds, reed boxes, funnels, plastic tubing, drawing and remnants of sculptures.) Somewhat inversely, Compass recapitulates not the recordings, but the software instruments used throughout Newly Cemented Dedication to Freedom (2014–2018), reactivating and reframing the melodic theme from Green Flame (2018) into a reflective composition.
1 Phonofixation and phonogeneration are two of Michel Chion’s seven basic technological effects of sound (2016: 135-140).
2 Portable pump organs were commonly played for soldiers by army chaplains during both World Wars. The Fender Rhodes Piano Bass (1959-1975) is the descendant of the Army AirCorps Piano (1942), invented by Harold Rhodes for World War II soldiers to play in bed while recuperating from wounds.
3 To give one example of material transduction, voices are heard through copper in Dense Day Cooling (2016)–found in XYZ (Falt, 2018).