There's a lot to say here regarding the mix of temporalities, timelines, states of being, and so forth, but I mostly just have to give a special thanks to glass artist, composer, and dear friend Sadie Robison. "To scry" defines the practice of foretelling the future through gazing into a crystal ball or other reflective surfaces. ![]() His symbol, which is shaped like a key, represents healing through trauma and transiting. Tattoo: Chiron glyph What it Means: In Greek mythology, Chiron was a centaur and a healer, though he could not heal himself. Often, both software and hardware processes are being used simultaneously. The triple moon, to me, represents that the moon is both ever-changing and unchangingnothing lasts forever. To this end: virtually all of the signal processing on ‘Scry’ is done live as I play saxophone/wind synth, either through a hardware setup that I control with my feet as I play, or through software instruments I build which respond live to what I’m playing. Scry is deeply indebted to the electroacoustic works of Pauline Oliveros, David Behrman, Marion Brown, Maggi Payne, Harold Budd, and Jon Hassell - all of whom explored, in their own ways, the interconnectivity between acoustic instruments, interactive electronic signal processing, and improvisation - the crux of ‘Scry’s DNA. Or, to think of it in another way: Gloam was like looking through a kaleidoscope (each turn of the handle giving a different abstract perspective of the same bits of gemstone) Scry is more like a stained-glass crystal ball (a singular sculpture, with each fragment somehow offering an ephemeral glimpse into another world or dimension). ![]() Whereas my previous record, Gloam, was mostly a series of compositions for a very specific electroacoustic setup, Scry utilizes a series of different hardware/software frameworks and apparatus. multidimensional yet woven together by similar aesthetic threads. It’s a record that, for me, resonates strongly with this sort of “between-ness:” it began in Minneapolis, and was finished in Oakland, bridging pre-pandemic life with the “new normal” of current times being genderqueer and navigating the spaces between and outside of the masculine and feminine binary wandering through a musical interchange station that is interconnects improvisation, “song,” and collage experiments. "Scry is a collection of musics exploring fragmentary or gradient states of liminality – recursive spirals of worlds hidden within worlds, dreams within dreams, sensations of time, and the notion of the past, present, and future all occupying a single point. ![]() It drifts between electroacoustic experimentalism and more traditional forms of song-like beauty, casting a wide sonic net that highlights Pulice’s versatility and creativity as both an improviser and composer. The sound is deeply contemporary, incorporating saxophone/wind synth with live signal processing and modern electronics/software. Following their debut album "Gloam" and two duo collaborations with Lynn Avery and Nat Harvie, Cole Pulice returns with their sophomore album "Scry". Cole Pulice is a composer, saxophonist and electroacoustic musician from Oakland-via-Minneapolis.
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