released April 15, 2013

Artifacts on tape pulled from cassettes used in a dual tape-processing device.

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

0:00 A Deflective Index
19:26 A Refracted Index of “Seam” with Girls

Format: Hand-numbered edition of 100 C41 stickered cassettes with gold ink silkscreened j-card and printed insert, in three colors
Duration: 40 minutes
Label: Pilgrim Talk (PT26)
Country: USA
Artwork: Nick Hoffman
Including: Modified Boombox I
Date: 2011-2012 (recorded), April 2013 (released)

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 (voice), Sarah J. Ritch (cello and electronics), Berglind Tómasdóttir (flute), Julia A. Miller (toy guitar).

Indexed and arranged by Noé Cuéllar & Joseph Kramer.

Thank you to Carol Genetti, Sarah J. Ritch, Berglind Tómasdóttir, Julia A. Miller, and Nick Hoffman.

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

Side effects:

“Pied (on Notice Recordings) and Epoxy (on Pilgrim Talk), both cassette releases using different instruments and recording techniques but in essence with the same sort of compelling intense drowsiness.” –Pim van der Graf, Progress Report (2013)

“The album was made with a dual cassette deck modified to record and play back simultaneously, so that the music is reduced to layers of buzzing, fluttering, and wobbling high tones and grinding machine noise." –Luca Cimarusti, Chicago Reader (2013)

“Noé Cuéllar & Joseph Kramer are 2 boys (men) very experimented in all kinds of "non-music" and highly recommended to everybody wants to ear something different and really original, out of common and (why not) rebel to the "establishment". Musical expression acts as a vehicle for the soul on multiple levels: from one individual declarative intent to a collective, of passions functioning as one unit. The strength of the conduit, that which gives life to the music, whether it is one or many, often determines the potency of the art-form that emerges. The relationships that exist behind the scenes seep into the music and inject a keenly unique flavour. Whether it is the vitriol that exists between estranged band members or it is the deep bond that exists between lovers, the all-too-human music acts as a mirror for the profound depths of those responsible. This means that, not only is an enigmatic transmission the result of that which lies within, but it is also a reflection of the idiosyncrasies that bind the unit together. Free Improvisation, Free Interpretation.” –Ambient Noise Wall (2013)

“The prolific Chicago based duo of Noé Cuéllar and Joseph Kramer have produced a steady stream of increasingly impressive music for a few years now. This cassette sees Coppice focus less on the electronics and bellows their releases have normally involved, and instead turns the ear back on the recording process itself. The duo played a number of improvisations with various guest musicians, and captured the performances using a tape deck modified to play back and record at the same time. Exactly how this process works isn’t quite clear, but the end result is two pieces of strange, hauntingly oblique music that completely disguise the voice, cello, guitars, etc that are apparently embedded in there somewhere and replace them with a smudged blur of intriguing, strange activity. It’s more a kind of immediate, acoustic musique concrète than improvisation in its natural sense, full of murky but vastly contrasting colours and a wide range of dynamics.” –Richard Pinnel, The Wire (2013)

“Epoxy (Pilgrim Talk, 2013) revels in the murk and wavering impermanence of sound on tape.” –Bill Meyer, Chicago Music (2014)

“Epoxy, on the other hand, has a specific lo-fi sound. The sloppiness is a positive term in this case: intentionally noodly attitude toward material (for example total disappearance of the sound for 3 whole seconds on the first track) combined with absolute confidence that this is the only way how it should sound, giving it interesting result in the end.  The musicians are not afraid to experiment with sound, and at the same time they don’t have the weight of responsibility to play something smart and highly intellectual. No, everything is simple and naturally caused, even when switching takes is rough.

And what about music? The best way is to listen instead of talking. Scratching, droning, scrubbing, and making noise, switching from one take to another, using either field recordings or specially recorded fragments from other musicians. How to make sense of those sounds combined remains unknown. Nevertheless it works. Coppice simply draw their line, sometimes turning to the road shoulder, sometimes stopping but knowing for sure why they choose this road this time.” –Ilia Belorukov, CMMag (2013)