Noé Cuéllar and Joseph Kramer’s windblown recordings portray the inner life of their instruments. In the case of Vantage/Cordonedm, that’s a pair of prepared pump organs and various tape players manipulated to produce a bristly, granular stream of noise thick with debris; the clamor is evocative of industrial materials and broken mechanical bits like buzzing plastic frames, frayed wires, rusted brass reeds and over-stuffed bellows emitting air from all the wrong places. Their sound is broken and weathered and pocked with imperfections, but carefully controlled and recorded too, deliberately filled with the gritty life of distorted noise and malfunctioning equipment.
Coppice’s musical approach epitomizes what its name suggests: development, reduction and reuse. Among Cuéllar and Kramer’s numerous undertakings, past endeavors have included a performance on the Baschet Brothers’ Aluminum Piano at the Chicago Museum of Contemporary Art; a special exhibition of resonating sculptures made from galvanized steel, glass, foam and copper; and a handmade 12 CD-R redwood boxed set that doubles as a reed instrument thanks to the brass tube running through its center. As different as the works are, all three are part of the duo’sVinculum project, something they refer to as an “archive of sonic artifacts.” Those artifacts include pre-recorded sounds and compositional strategies that are as useful in one discipline as they are in another. Appropriately, the title connotes unification, though usually of the mathematical or anatomical sort. Musically, it describes how the duo goes about its work, both stylistically (how many bellows and electronics duos can you name?) and structurally.