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
– 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
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