Between 2009–2014 Coppice studied Bellows & Electronics through reciprocal processes between audio production, spatialization, and composition – a mixture central to the development of live repertoire, performed installations, and discography. The compositional trajectory evolved as two distinct, yet interrelated series, each exploring independent and processed sound signals, respectively: On one hand, Vinculum, a sonic archive of “air and edges” that became a resource for a series of performed installations under the same name. The archive hones in on themes of flattening and expansion of sounds: the collection of sonic artifacts as recorded media. The performed installation series distributed those recordings in spaces in consideration of audience flow. This series then informed studio adaptations that flattened spatial ideas back down to stereo. Additionally to their availability in isolation, selections from the Vinculum archive also appear quoted in other compositions and recordings as samples. On the other hand, live repertoire for concurrent live and reproduced signals: a self-reproducing music that only works together. The music metabolizes actuality and reproduction with high fidelity microphone techniques and low fidelity analog tape processes simultaneously. Several side projects evaluate how each of those components sounds by itself – (i.e. works with or without tape processes, or works for tape processes alone), while most other works display them in various elaborations. The works in this latter series developed from two duo configurations: first between prepared shruti boxes and tape processes, then between amplified prepared pump organ and tape processes. The works from each set progress from free-flowing, textural impromptus to musically structured narratives that embed and refer to other works. Coppice was founded by Noé Cuéllar and Joseph Kramer in Chicago in 2009. For more information visit coppice.futurevessel.com #abstractmusic #experimentalmusic #noise #electroacoustic