released May 13, 2013

Format: CD-R
Duration: 30 minutes
Label: Triple Bath (TRB.038)
Country: Greece
Artwork: Coppice
Mastering: Themis Pantelopoulos
Including: Acoustic Filters, Modified Boombox I, Modified Boombox III, Modified Boombox IV, Prepared Pump Organ (Kinder), Transmitters
Date: Summer 2012 (composed), October 26, 2012 (recorded), May 13, 2013 (released)

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.

Composed by Noé Cuéllar & Joseph Kramer.

Thank you to Laura Schaeffer, Andrew Nord, Jesse Goin, and Themis Pantelopoulos.

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

Side effects:

“I am, for the first time, inclined to offer a mild disclaimer about a release I recommend wholeheartedly; that is, Coppice’s Compound Form was recorded in performance in my 2012 crow with no mouth concert series (on an amazing evening shared with Jeph Jerman). I received four Coppice releases in the mail this year, as fecund and fertile a year for them as it was for Nick Hennies. I can say I respect and enjoy aspects of the other releases, but return most frequently to this one. I recall the evening Coppice’s bellows and sundry sound-sources lapped throughout the Studio Z space – at the completion of their set another regular attendee and I agreed it was a highlight of the crow series. I am pleased this will be heard beyond that evening." –Jesse Goin, crow with no mouth (2013)

"[…] the rhythmic cues more than the drone form allow the listener to dive body and soul into Coppice’s sonic masses. The listener can easily fall into this archaic, post-industrial (and post-EAI) universe, full of abstract sounds always deeper and more abyssal, always newer and more inviting." –Julien Héraud, Improv Sphere (2013)

"Compound Form is a very strong composition, this is musical narrative at its highest potency; these are human emotions and thoughts effectively activated by sound, building an intimate, personal story where the only character is the listener and his subjective view." –David Vélez, The Field Reporter (2013)

"Totally fascinating sound work. Perhaps in a way also highly conceptual, but also highly musical. Excellent." –Frans De Waard, Vital Weekly (2013)

"Talking about Coppice music as a whole, it’s hard not to mention that their music evokes many images and associations. This music leaves some aftertaste. And this is a good thing." –Ilia Belorukov, CMMag (2013)

"[…] I discovered what I was searching for: a way to make the abstraction of storage media into a physical presence, a way to make the metaphysical bodily. I experience these works as bodily expressions of abstract, psychic, spaces. I feel like, in a lot of ways, devoting as much attention as I do to probing the possibilities of tape helps me to more clearly and carefully outline its body: like fleshing out the corporeal possibilities of this tool that was conceived for very limited purposes. I find similar concerns in the work of this duo from Chicago called Coppice. They call themselves “a duo of bellows and electronics.” This means that they work with various kinds of electronics, both handmade and not, as well as various instruments with bellows. These include Shruti Boxes and accordions. I think that the focus that they place on combining bellows with electronics is both conceptually interesting and viscerally pleasurable. I like the idea of bellows, a broad category of instruments associated with breath and life, being combined with very mechanical electronic instruments that can feel cold and lifeless. It is a beautiful combination." –Jason Zeh, The Fiddleback (2013)

"Absolutely thrilling. Really mindblowing!" –Themistoklis Pantelopoulos, Triple Bath (2013)