started making music in Feb. 2000. They have been largely ignored
, save MUTEK
, opening for Pan Sonic
, Books on Tape
, touring with Vitaminsforyou
and beating the living hell out of Holzkopf
. And that's kind of the way we like it.
From the early days, there is a story about a coin gutter recording session in which Graeme is said to have actually fallen asleep while recording a single, 20 minute note to tape. This would probably have been sometime in late 2000, when coin gutter were a bizarre mix of ambient anadigital expansive sonic sculptures, and when they believed that the only reason everyone in the world wasn't listening to this kind of music was because they hadn't yet heard it.
They set out hitting the rock scene with expansive drones and heavy feedback, opening for anyone that would have them, and introducing many mainstream bar patrons (and owners) to the definitive answer to the ever present question: "What the *!#@ is THAT?" The answer, of course, is coin gutter.
Since 2000, coin gutter have released 8 recordings
, including the remarkable truth lifting up its head above scandal
, the highly praised all your dreams are meaningless
(Voted "Favourite Song I Can't Wait to Play for My Son
" by Mark Teppo), and the brand new highly anticipated pigeonless.
coin gutter have worked with numerous other artists, both audio and otherwise, to create works of the strange, dark, and beautiful; thundering ambiences and rolling waves of brutal feedback. coin gutter's latest efforts have become more refined, more direct, and a little more quirky. the latest effort is an amalgamation of techniques they've been using since splicing their first tape loop through to digital processing and programming, including field recordings, sound objects, and toy organs.
coin gutter's live sets are all improvised, using various sound objects and sample banks taken from (currently) pigeonless
compositions, reworked and recreated to be mostly unrecognizable. One new track per month will be posted at coin gutter headquarters
based on this approach.
What does the mysterious Phil Thomson
have to say about coin gutter?
“Don't let the "trial-and-error" moniker fool you; this has nothing to do with so-called "glitch", experimental music made largely on laptops and based on what Kim Cascone called "the aesthetics of failure" (glitches, pops, clicks linked with laptop/lofi audio). At its worst, glitch tends to be repetitive and meandery, reducible to so much laptop noodling. By contrast, the sound art of coin gutter is intensely focussed and coherent”
or so it was.......