Since its foundation in 2009, we have departed from bellows and electronics to create compositions, installations, discography, instruments, arrangements for performance, software, and sculptural objects.

Drawing from its expanding glossary of study, we’re currently focused on expansions and emulations of our sonic foundations (in bellows and electronics) using a newly designed musical infrastructure that departs from physical modeled instruments and modular synthesis.

Coppice is currently transitioning onto a new world of finer sonic illusions of digitally-seeded air, binary clocks, and impossible objects."

– Noé Cuéllar & Joseph Kramer, Chicago

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— For a while it was possible to describe the duo Coppice’s often indescribable music simply by identifying their many instruments, particularly the harmonium and accordion wielded by Joseph Kramer and Noé Cuéllar.
But the notion of renewal is built right into their name: the word “coppice” refers to the practice of pruning a tree to promote new growth. The two are in the process of discarding old methods and tools in order to better represent themselves in terms of connections—between sound and visual art, between artist and audience, between the tools themselves.
In an interview for "Never Nervous" they explain, “First we choose and prepare the instruments and technology, then we find the music relationships between them and each other’s techniques in performance.” — Bill Meyer

Chicago Reader