Cox's work features himself on a very ethereal electric guitar, Thomas Newman on piano, and Peter Freeman on bass and signal processors. Soundscapes of this sort can be busy and climactical, or they can flow like some natural process, a gentle wind across a plain, for example.
Cox's combination of gradually evolving enveloped guitar notes and chords, bass tone envelopes, and isolated piano soundings emerging from a tonally sustained landscape has that natural flow and a more processual unfolding than it has punctuated discrete sonic events. There are no jagged angles as much as gradual curvatures and singular directions.
The result is like a dream of floating in space, like a space walk, slowly drifting in an endless sea of nothingness with no set destination.
It is extraordinarily spatial in that way, very calming but filled with sonic interest. There is nothing programmatic as there might be in a New Age work that aims at the same effect. Here the musical ambience precedes the mood inducement. It is first and foremost a poem of tonal color.
And an excellent one at that.