Songs designed for soloing. They lift the foreclosure on tempi—no matter what speed the soloist plays at, the meter provides a frame of interpretation: a sense for whether each note is an upbeat or a downbeat relative to any other note, or a sense for whether a phrase is an antecedent or a consequent relative to any other phrase. However, because the songforms are antisymmetrical at every time-scale, the interpretation is always an unexpected one.
A musical pidgin language. A tiny lexicon that ranges over the phonological space produced by four elementary melodic distinctions: long or short, high or low, near or far, and continuous or separate. At the same time, Moss abandons pitch, pacing, inflection, and other aspects of melody to free variation, where they're magnetized by the desire of the speaker.
A chamber that projects auditory architecture around a listener. Using an omnidirectional array of speakers, it produces a sensation of auditory surfaces using ambisonic localization, psychoacoustic cues, and parametric mapping. Effectively, one finds oneself navigating by ear a world in which every surface is covered in sound-emitting pores. The Spacepod functions as a sort of spacecraft that sends the listener flying through auditory spaces that would be impossible or prohibitive to construct physically, without any of the constraints of bodily mass.