All the track names refer to entities in various mythology and as a result prone to be associated with a similar variation of astronomical phenomena, planets and stars and suchlike. The usual stuff. Whether or not the listener chooses to decompose the sounds into a direct explanation of the particular soundscapes created is not necessarily relevant. The sounds created appear to be random enough to do so either way but its essence is that of play with electronical noise configurations, and open to interpretation. Essentially, as Mischa points out its droning on a comparatively small scale and has its obvious associated boundaries. There is a spaciousness to be had from tracks such as Sedna, but whether there was any intention to be stellar references is up to how you want to define the musical creativity. I think it could be a focal point but would rather it be inclined towards mythology, which I find more in keeping with human consciousness. However, reference to the heliosphere inclines me to think the association is with cosmic consciousness and the intergalactic laxative (and cosmic constipation). That makes it a bit bland and cold, which out in space it would be and the sound in Ceres are reminiscent of random radio waves being transmitted from stellar objects and our collection of them through gigantic telescopes and other similar tools of technology. The mythological connection would have made it warmer and a bit more palatable to the listeners ear, and I think an opportunity to humanise it has been missed. At least Jaime Heras has a story to tell, albeit excessively optismistic. The track names are random and it makes for a mere collection of randomly named chunks of electronic foreplay. Nice enough though, if somewhat dissipated in effect for a lack of purposiveness.