Borges’ use of crude electronics, tape loops, field recordings, and controlled feedback, contrasts against Shannon’s use of stringed instruments, bowing techniques and amplified metal and wood, resulting in music that is both raw and refined. Pedestrian Deposit bears elements of electro-acoustic sound, musique concrete, classical, and harsh noise, but cannot be confined to any one genre.

Jonathan Borges began Pedestrian Deposit in the Winter of 2000, with the concept of combining layers of electronic sound with no pre-determined relation to one another until mixed. The project slowly evolved to incorporate elements of harsh noise, tape collage, field recordings and glitch music, resulting in a prolific few years of rich and dynamic compositions on such labels as Hospital Productions, Hanson Records, and Jon’s own label, Monorail Trespassing, to name a few.

After a few years hiatus, Pedestrian Deposit returned in the fall of 2008 with the addition of multi-instrumentalist and visual artist Shannon Kennedy, and her elements of cello, violin and amplified, bowed and manipulated objects.