Coppice

Vinculum

2010-ongoing (made-to-order) | artist edition 3-CD sets
set of 3 randomly selected CD’s from Coppice’s sonic artifact archive stuffed in hand-embroidered pouch

Vinculum (2010-ongoing) is a growing archive of sonic artifacts and the first official release by Coppice.  Sounds are recorded and reduced to highlight some aspects at the expense of others. Each recording is released on its own single-track CD-R with an inscribed catalog number.

Currently, the project is being made available as a unique, made-to-order hand-made, hand-embroidered pouch containing several different discs selected at the time the pouch is filled.  Also as individual CD’s in hand-painted sleeves – visit our Purchase page for details; as well as the full-experience Specimen Edition. The listener is encouraged to play the discs simultaneously on repeat from multiple players when possible.

Available now:

S-1 01.01 020:00
S-1 01.02 012:40
S-1 01.03 010:00
S-1 02.01 004:44
S-1 03.01 005:36
T-M 01.01 003:50
BK-1 E1.01 019:48
PC-1 01.01 006:54
PC-1 01.02 006:52
PC-1 02.04 004:33
PC-1 04.01 003:57
F-GS 01.02 030:01

Press

While we’re on the topic of support, it must be pointed out that Coppice have a rather special fundraising project on the go at the moment. Their long-term project “Vinculum”, an ever-growing archive of sound objects, is beginning to bear fruit in several forms, including an exhibition, installations, free downloads, and extremely limited CD editions. Most intriguing, however, is the “Specimen Edition” box set — and by ‘box’, the pair mean ‘custom-built redwood box in an edition of five, with glass-mounted CDs, index scroll, metal tube filter and integrated uniquely-tuned brass free reed allowing use as a one-of-a-kind wind instrument’. Try doing that with your luxury coloured heavyweight vinyl.

–Nathan Thomas, Fluid Radio {2013}

Vinculum, a constantly shifting index of sounds, bodies, and space that involves isolating and highlighting particular sounds that are specific to Coppice. Sitting down with Cuéllar and Kramer in their studio, they describe their interest in the “behavior of sounds” and the ways in which different sounds demand a different kind of listening. However, Coppice is not necessarily interested in making the listener more aware of the plethora of quotidian sounds that may surround her. Rather, the listener is encouraged to connect to the collection of sounds Coppice draws from to create their compositions. The work is deeply self-referential in its consistent pointing back to itself, its own self-reflexivity. The recordings, which are used to form Coppice compositions, are stored and categorized as specimens the listener can study and discover within the work. Coppice’s archival process, which involves recording the sounds and storing them in built containers or vessels – hand-sewn pouches or built wooden boxes (for Vinculum Specimen Edition), produces a peculiar meditation on the nature of cataloguing. What is capable of being stored? What should be saved? The individual entries/specimens can then be accessed and experienced by the listener in a multitude of ways. Coppice encourages the listener “to play the discs simultaneously on repeat from multiple players when possible.” However, the listener has the ability to change the order and method of playback to create her own way of experiencing the archived sounds. The archive is not static and is rather presented as a collection that is open to change and re-arrangement; it is an “open composition.”

Coppice describes the sounds of  Vinculum as quiet and having to be found from a particular point of view. Because Coppice is concerned with each sound’s specific experiential condition, the recordings in the archive capture the particular spatial arrangement necessary to recognize the sound, making the archive one of space and the way the listener and the instrument inhabit space. Many of the sounds Coppice finds, makes, and records relate to the human body and its rhythms. The breath that passes through a tube and the air that traverses through the bellows of an accordion or pump organ indicate the necessity of the body to the production of that sound, whether it is the musician’s breath, hands, or feet interacting with the instrument or apparatus. They claim that it is the “air on the edge of things” that makes its way into the auditory.

–Meredith Kooi, Bad at Sports {2013}

The range of amplitude and density of each of the pieces contributes to a rather startling mix. Where similar projects would get bogged down in three separate ‘songs’, the listener instead gets the sense of three parts of a whole.

–Brian Beaudry, Cut and Run {2012}