Copeland creates all of his music solely from tape consisting of environmental sounds. Rendu visible (rendered visible) centers around the mysterious fusion of sound and vision, and how different people may interpret sound, which then triggers visual elements (He begs an interesting question: “What if a listener is congenitally blind?”) This music is very visual, indeed. On the piece, Rendered Visible, Copeland creates landscapes of drones, and surrealistic ambient highways that sound like the roads may stretch for continents. One car may pass as expected, while another car may approach, but its timing is extended so that you may never appear to realize its passing, and it soaks back into the earth. Copeland morphs the sound of cars flitting by into the sound of waves crashing into the shore. Droning human cries of despair add to an already eerie landscape. At times, this album seems almost like a human version of some of Thomas Koner’s ambient wastelands. Those deep, dark, ice-cold drones are there, but you get human contact with elements like doors closing, people speaking in the background, and animal sounds, etc. Night Camera is a suite of three separate pieces, each in a different audio environment. Each piece acts as a sort of mechanical gadget that allows you to see in the dark (infrared?) what you otherwise would not be able to see. This is a wicked concept that works almost too well. The environments Copeland creates are downright creepy, and almost certain to contain predators, which can be heard scraping and scratching at the landscape (at least in ‘my version’ there are predators). As the wind whips through the trees with rain, I could almost feel my eyes tear up. Thunder is processed into what sounds like the metallic roar of a great metal deity. The environment is harsh enough to make you shut your eyes, but that only clears the visual slate for yet another fantastic voyage.