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Cores​/​Eruct

by Coppice

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1.
Bluing 07:33
2.
Son Form 07:06
3.
4.
5.
Blueing 08:47

about

What is kept in.

Part of Coppice's study in Bellows & Electronics (2009-2014).

credits

released February 24, 2015

Format: CD in in gatefold printed cardstock digisleeve with resealable poly bag
Duration: 43 minutes
Label: Category of manifestation: (KIND_1)
Country: USA
Artwork: Coppice
Including: Handheld Funnels, Modified Boombox I, Modified Boombox III, Prepared Pump Organ (Kinder), Shruti Box (Orange), Transmitters
Date: 2009-2012 (composed), February 24, 2014 (release)

Composed by Noé Cuéllar & Joseph Kramer.

For more information visit coppice.futurevessel.com and instagram.com/futurevessel.

Side effects:

"Electro-acoustic improvisation need not be the pleasant cohabitation of two avant-garde musicians agreeing with each other than nothing of import needs to happen for there to be a scribble of a record that gets released. There can be, nay, there SHOULD be grit, risk, and error; and through the process, some sort of meaning or revelation comes through the sound. […] Cores/Eruct is a very inventive record of hand-crafted texture thrust into expository movements of communed intellect and instinct.” –Aquarius Records (2015)

"I love how this isn’t explicitly “Electro-Acoustic Improvisation” – despite appropriating many of the genre’s corner/touch-stones – “Composition,” “Sound Art,” or any of the kite-flying / card-carrying experimental-sound allocations; it’s music that simply exists on its own terms." –Keith Fullerton Whitman, Mimaroglu Music Sales (2015)

"I enjoy these 43 minutes all the more for knowing that the equipment may not survive another session, leaning in to the high-fidelity capture of cracked elastic and old, dehydrated bellow fabric." –Jack Chuter, ATTN:Magazine (2015)


“In jazz parlance, music that stays inside is approachable and rooted in established practice, while outcats push boundaries and advance the vernacular. Coppice’s music deals with both the out and the in but in much more concrete ways. Joseph Kramer and Noé Cuellar play harmonium, organ, accordion, and sruti box. You can hear the inner working of their instruments, the bump, thump, and wheeze of moving parts and puffing bellows.” –Bill Meyer, Dusted (2015)

“Secrecy and solitude are the twin engines spinning at the heart of Cores/Eruct, Noé Cuéllar and Joseph Kramer's first record on their own Category of Manifestation label. By the time album opener “Bluing” has ended and “Son Form” has begun its unusual cyclic canter, they have already constructed an enigmatic and isolated atmosphere. Though clearly recorded and rigorously performed, Coppice’s songs bewilder. They teeter on the edge of the familiar and flirt with recognition, but are comprised of sounds that evade identification. Those sounds are microscopic, magnified to the point of seclusion, and hermetic, as if trapped inside a great machine churning endlessly in the dark. That sense of perpetuity is what drives the the album. It plays out like an aural mise en abyme, each song, sound, and passage opening upon some aspect itself and spiraling endlessly in a confusion of levers, springs, and eerie melodies.

[…]

The same elements that produce that schematic quality are also responsible for the album’s most inscrutable traits. After a time, all of those whirling movements and looping parts blur and condense. The music feeds on itself, swells, and caves in, creating a bottomless sensation that is both mesmerizing and unsettling. It is less like falling into darkness and more like falling into a massive hall of mirrors; there should be a source for all of these images, but only more reflections keep coming. If there is a ghost in the machine, if someone is responsible for setting all of these events in motion, they stay constantly out of reach, haunting the music instead of staking a claim in it.

As with many of Coppice’s recordings, recycled and remixed elements play a significant role. A recognizable fragment from last year’s Vinculum (Coincidence) shows up on “Son Form,” and there are likely other bits that have been pulled from the band’s deep well of sounds. This compounds the music’s fractal quality and cultivates its botanical, not-quite-wholly determined traits. Songs on Cores/Eruct grow and leap out of themselves carrying some semblance of their prior iteration with them. The arc of their evolution can be estimated at the right distance, but the details are difficult to measure precisely. Cuéllar and Kramer are responsible for performing the songs, but their content grows of its own accord and the music burrows into places the musicians could have never guessed.” – Lucas Schleicher, Brainwashed (2015)

"Que dire d’autre ? Sinon qu’avec While Like Teem or Bloom Comes, 2015 commence bien !" –Pierre Cécile, Le son du grisli (2015)

"Noé Cuéllar and Jospeh Kramer [work together] with electronic and bellowed sounds, morphing both into new timbral sensations through blurring the barriers between their different sonic characteristics." –Ian Parsons, The Sound Barrier (2015)

"Extremes of a different kind are to be found in the latest release from Chicago-based experimental duo Coppice. The word that springs to mind every time i listen to their work is friction, due to their output emanating from a variety of mechanical devices, chiefly a prepared pump organ. This is entirely foregrounded and emphasised, filling their music with creaks, squeaks, scrapes, clatter and air noise, sounds that are often so crude one has to overcome the urge to hear them as superficial disjecta membra, secondary artefacts littering the primary material that lies beneath. But Coppice’s work is deliberately constructed from these—to use the term literally—raw materials, formed into textural pieces that invariably defy received notions of structure and development. The last couple of years have seen their most sophisticated and subtle work (2013’s Compound Form and last year’s Vantage/Cordoned are both stunning), and their most recent album Cores/Eruct, released on the duo’s own new label Category of Manifestation, continues to push the bar ever higher. […] with noise at its core but book-ended by beauty." –Simon Cummings, 5:4 (2015)

"Le retour de Coppice (Noé Cuéllar & Joseph Kramer), duo de Chicago, qui nous avait émerveillé avec leur premier CD sorti chez Quakebasket. ‘Cores / Eruct’ continue les voies ouvertes par ‘Big wad excisions’. Les compositions datent de 2009-2012. L’instrumentation reste très particulière, harmonium préparé, shruti box, entonnoirs (?), bandes et émetteur. Toujours cette exploration très musicale des interférences électromagnétiques et des soufflets d’harmonium dans des horizontalités timbrales des plus complexes. Évoquant autant le chant de créatures animales ou de machines orphelines, la musique de Coppice est des plus organiques." –Metamkine (2015)

"Une ambiant sombre laisse vite place à une électroacoustique brute. Des manipulations mécaniques filtrées peu à peu, à travers des delays ou échos. Comme un souffle retenu sur cette deuxième pièce, une répétition se met alors en place autour de ces respirations qui elle-mêmes deviennent aléatoires, et forcément minimales, telles des souffles pour haut-parleur. L’ambiant reprend ensuite ses droits, proche du drone sur le troisième titre. Le duo ingurgite quelques ingrédients électroniques voire post techno-indus sur le quatrième morceau, comme aurait pu le faire Jim Haynes ou Pansonic. Une techno-indus qui ne démarre pas mais qui pourtant s’effrite dans un presque noise pour ce qui est des fréquence, le tout sur des notes de piano mécanique, voire à soufflet me semble-t-il. Un moment assez incroyable de par son ondulation et ce mélange d’influences avec même une petite touche de série Z. De COPPICE je ne connaissais que le nom, et le temps de cet album, ils ont réussi à me convaincre du bien fondé de leur originalité.” –Cyrille Lanoë, Revue & Corrigée (2015)

“Glasba Coppice je artikulacija pneume, proces, ki poteka od surove zvočne materije, razpete med akustičnim in elektronskim signalom, do vse bolj dovršene glasbene artikulacije, ki smo ji priča na plošči 'Cores/Eruct'. Ta je hkrati tudi temeljno utelešenje koncepta Coppice- utelešenje procesa, ki je bistven v samem zvoku in zvenu ter konceptu. Pričujoča plošča, ki jo recenziramo v Tolpi Bumov, je prva od sedmih, izdanih v zadnjih treh letih. Če se odpravite po vzvratni poti njunega procesa, ki je pripeljal do plošče 'Cores/Eruct', boste šli po slušni poti razgradnje. Lahko pa ostanete in začnete v zadnji točki ter prisluhnete eni bolj samosvojih glasbenih izkušenj zadnjega časa.” –Luka Zagoričnik, Radio Študent (2015)

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Future Vessel

Host of Coppice (since 2009) and Nestor (since 2018).

Musical experimentation and postphenomenological investigations.

A continuous hollow book.

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