Name: Wake The Night by Tropic Of Cancer in Cellophane Aero plane
Duration: 6 min 1 s
Description: From I Feel Nothing EP > Sleeperhold Publications and Dream Recordings > Vinyl out now > Digitals 12.21.12

Cellophane Aero plane

@al-lover & The Reverberation Appreciation Society present: "Elevated Transmissions", a new mix-tape series from San Francisco producer and sonic explorer Al Lover.

TRACK LISTING:

Night Beats - Outta Mind - https://soundcloud.com/reverberationappreciation/04-outta-mind
The Black Angels - Twisted Light
Goat - Stone Goat
The Blank Tapes - Tamarind Seeds
Holy Wave - Cool de La
The Spyrals - Radiator
Royal Baths - Nightmare Voodoo
Singapore Sling - Blues in Black
Dead Skeletons - Yama
Jiboia - Uadjit
Cosmonauts - Slower
Indian Jewelry - How Long
Golden Animals - You Dont Hear Me Now
Moon Duo - Sparks
The Hidden Ratio - Yer Majesty
Bo Ningen - Chitei Ningen Mogura
Al Lover ft. White Fence - Snake Hands
The Vacant Lots - Let Me Out
Kikagako Moyo - Dawn
Electric Eye - Tangerine
Theo Verney - Moving Forever
Ex-Ray Eyeballs - Egyptian Magic

http://www.austinpsychfest.com/elevated-transmissions-vol-2/

Elevated Transmissions Vol. 2

Gazelle Twin covers 'Heartbeat' by Wire. Released on 'Mammal EP' January 2013, on Sugarcane Recordings.

Heartbeat (Wire cover)

Teaser from Al Lover's upcoming Headway Remix Cassette, to be released October 15, 2013.

Tashi Dorji - Untitled #1 (Al Lover Remix)

@al-lover & The Reverberation Appreciation Society present: "Elevated Transmissions", a mix-tape series from San Francisco producer and sonic explorer Al Lover.

Artwork by Robin Gnista, from the official poster series!

Vol. 3 is a mix of artists playing LEVITATION FRANCE, presented by Austin Psych Fest at Le Chabada in Angers, FR on Sept 20 - 21, 2013. Lineup per day, event info, ticket links: https://www.facebook.com/events/430230013741803/

TRACK LISTING:

Camera - Villon
Tamikrest - Aratan N Tinariwen
The Blondi's Salvation - Your Gold Mine
Mars Red Sky - Way to Rome
Dead Meadow - 1000 Dreams
Can - Mushroom
Beak> - Spinning Top
Lonely WALK - Halloween Sixteen
Dead Skeletons - Ask Seek Knock
Lola Colt - I get Hight If You Get High
Night Beats - Sonic Bloom
Elephant Stone - Love The Sinner, Hate The Sin
Temples - Shelter Song
The Black Angels - Indigo Meadow
Wall Of Death - Darker Than Black
Strangers Family Band - Girl I've Been Taken
The Telescopes - We See Magic And We Are Neutral, Unnecessary

http://www.austinpsychfest.com/elevated-transmissions-vol-3/

Elevated Transmissions Vol. 3

Oliver Coates cover of Bryce Hackford's Another Fantasy. all played on Cello

Oliver Coates - Another Fantasy (Bryce Hackford)

Innen & Aussen

Opus

A sonic meditation on family, heritage, and the continuum of generational memory.

This EP carries forward the themes and textures of ShaktiMan, released on Chitra Records in March 2025

Produced and mixed by Alexander Bin (BinJa)
Mastered by Alexander Bin
Cover picture by Alexander Bin
Cover design by Dionis Afonichev

Tree of Life

Bloodline

Track for EXO compilation, record out on Ekster.(http://www.eksterlabel.com/EKS007-EXO)

Trooper

Yen Towers "Bidders Must Justify their Price" 12" 
Posh Isolation 175 

Yen Towers - BID l (Bug)

Sudeten Creche - Are Kisses Out of Fashion

Entras a un lugar inesperado,
la vision se parte;
te observan espaldas,
sus rostros son claros.

Es irreal todo lo que ves, 
pero no tienes a qué
más aferrarte.

Creo que se parece a la muerte…
pero, siempre hay algo más que vive.
¿o no?

muerte

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

From I Feel Nothing EP > Sleeperhold Publications and Dream Recordings > Vinyl out now > Digitals 12.21.12

Wake The Night

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld.  Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.
While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop.  This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet.  Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.
Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.
 For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

Cucina Povera - Salvia Salvatrix

Track 4, Taken from This Other Kingdom's brand new EP 'Sunlight' released April 13th 2013

Vacate The Horror (SUNLIGHT EP)

Dummy Mix 165 // The KVB

Info: tropicofcancerinfo@gmail.com
Booking: mia@lb-agency.net

Tropic Of Cancer is the solo project of Camella Lobo.

Wake The Night

Tropic Of Cancer

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