Turning Concert

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Coppice Turning Concert took place as part of a residency at Silent Funny, to develop staging and spatialization of selections from Newly Cemented Dedication to Freedom, music for modular and physical modeling syntheses. The performance and audience areas flowed between each other, marked by two rooms of Cold Light and Fake Fire. The audience was invited to change places throughout the concert. The music happened in varying degrees of performance and reproduction (shifting between live playing and listening to studio pieces played back), over a decentralized arrangement of multiple speakers and speaker types.

Coppice was joined by special guests: sound artist Lou Mallozzi and Peter Speer, and a fire-based dual-projection installation by Phil Peters that filled one of the rooms with dim flickering and impressions of warmth.

The evening unfolded as follows:

  • Fake Air opening
  • Improvisation 1 with Lou Mallozzi (conduits and Capillaries)
  • Improvisation 2 with Lou Mallozzi (controlled feedback)/”Blueberry”
  • “The Wall” (modular synthesizer, impossible specimens, impossible objects, fake Wurly, and voice)
  • “Dense Day Cooling” (recording [modular synthesizer, impossible objects, and fake double bass], Rhodes Piano Bass, and live voice over transmission line)
  • “Country Road/Afterthought” (impossible objects, modular synthesizer, Multi-material Filter, and percussion)
  • Peter Speer’s “misc. showers” (modular synthesizer)
  • Fake Fire transition
  • “Ashdown” (impossible objects, modular synthesizer, Multi-material Filter, and cymbal)
  • “Flywheel” (impossible objects, modular synthesizer, Rhodes Piano Bass, concrete, and voice)
  • “Walrus Dream (Wet Hologram)” (recording [impossible objects, fake Rhodes, modular synthesizer, field recording])

Sound artist Lou Mallozzi conceived and performed two improvisations with Coppice. The first consisted of two 20-foot pieces of .75-inch diameter steel conduit connected to Mallozzi’s ears as he sat between the two different rooms. Coppice performed very delicate, quiet sounds using mouth-blown Capillaries (collections of tubes of different lengths) at the two separate spaces into Mallozzi’s tubes. While Coppice couldn’t hear each other, Mallozzi heard them both in separate ears, and in response improvised vocal sounds with two microphones very close to his mouth, amplified over two loudspeakers placed in each of the separate spaces. The second improvisation used two microphones in and around Mallozzi’s mouth to create controlled feedback in a pair of drones that shifted pitches and beating patterns, combining and colliding in the bifurcated architecture. In response, Coppice performed with their custom Multi-Material Filter, plastic tubing, and a Rhodes Piano Bass, while Peter Speer joined with modular synthesizer.

Presentations
  • August 26–27, 2016 – Silent Funny; Chicago, IL

 

 

Disgusting/Slimy/Exploded/Surveillance/Stained Glass/Mesh Sets

Newly Cemented Dedication to Freedom

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Six developmental live sets of material from Newly Cemented Dedication to Freedom were presented between 2015–2016, each capturing different stages of multiple components of the project:

  • Disgusting Set at Emporium (with live video by Ryan Dunn) and Elastic in Chicago
  • Slimy Set at Hideout Inn and Comfort Station in Chicago
  • Exploded Set at Experimental Sound Studio in Chicago
  • Surveillance Set (within installation by Jessica Stockholder) at Kavi Gupta in Chicago
  • Stained Glass Set at Dreamland in Louisville, The Artifex Guild in Bloomington, and The Spot in Lafayette
  • Mesh Set at High Concept Laboratories (with live video by Vaudeo Motion) and Empty Bottle in Chicago