Hecker uses mellotron strings, guitar, piano and synthesizers as sound sources, amplifying and treating the sonic vibrations they emit to create feedback loops and mildly abrasive electronic textures. Quite unlike past efforts, these myriad sonic elements are more diaphanous than dynamic, more indirect than direct. Hecker's range thus expands, as he shifts through a panoply of moods and amplitudes, from delicately plangent to loudly distorted, with a certain communication or genuine kinship weaving them all tightly together as though in a kind of hydrogen bonding.

When a track shifts from a warm melodic sensibility that embraces a gnarly chromaticism, to more open spaces where he takes his time to explore at length sparse harmonic sub-structures, until at last his structural ear wends onto blurrier, less distinct drones that convey a gauzy, ethereal drift, circling each other with gently increasing urgency, the details and endpoints are somewhat unexpected and yet the journey is easy and pleasurable enough. Indeed, even on works such as "Sea of Pulses", where Hecker leisurely layers russet noise and has the piece ascend on a steady rhythmic pulse, the progression seems libidinously purposeful, rather than floundering.

Hecker's harmonic imagination might easily have been compromised by such psychadelic influences, near as they are to the bumbling emissions curling out of the slanting smokestacks of today's free-folk clan, but it remains largely non-generic; showing, through this alteration of palette, a greater elasticity in dreaming.