The before and after pictures.
Part of Coppice's study in Physical Modeling & Modular Syntheses (2014-2018).
released April 12, 2019
Format: Digital files and video
Duration: 14 minutes
Artwork: Coppice
Including: Copper Plate, Modular Synthesizers, Multi-Material Filter
Date: 2016-2017 (composed), March 13-14, 2017 (video shoot), April 2019 (released)
Composed by Noé Cuéllar & Joseph Kramer.
Wet Hologram vibraphone by Sarah Hennies, walrus recording by Becky Sjare/Macaulay Library at the Cornell Lab of Ornithology. Track 2 recorded live on March 4, 2016 at Transistor, Chicago.
For more information visit
coppice.futurevessel.com and
instagram.com/futurevessel.
Side effects:
“Here the perceived incidentality is absolute: the whole thing could plausibly be the result of processes with no human involvement whatsoever, and it’s really gorgeous. The piece ends with ‘Wet Hologram’, which returns to material that resembles conventional song elements, though its pulse is so laid-back as to be barely present, with passing sounds here and there that could just about be interpreted as a chord, a rhythmic fill or a bass note.” –Simon Cummings, 5:4 (2018)
“[…] into what sounds like a fractured gothic torch song recorded by a shooting range in Wet Hologram. Where so much music gives the answers before you’ve even asked a question, this album is a riddle within a riddle.” –Boomkat (2018)