COH intrigues because he seems to go elsewhere into the light. Most elsewheres are darkness-bound, content to continue stirring the ambient-stew given to them by their industrial ancestors (so many have made a cuckold of Lustmord) but COH’s music turns away from the darkness and pulls you into the light. This release is perhaps the most beautiful yet and works like a prettier, more sophisticated cousin of Rustie; both make music from cut class, COH’s shapes are simply more finely tuned, less bombastic. You can’t imagine COH listening to Bentley Rhythm Ace.
To be honest, COH doesn’t particularly evoke any sonic signatures; the music is minimal, but it has only a very passing resemblance to Alva Noto and sounds nothing like the Basic Channel arc. If there’s a way into the sonics here then I’m drawn to (childrens’) literature: this is the sound that Nicholas Fisk’s Trillions would make, this is the song they sing to themselves as they fall from the skies.