Nina Polaschegg writes: "Improvisation and composition as forcefield. The conundrum remains: how can one combine these two approaches to musical forming without one or the other being compromised or diluted? Christopher Fox has decided to have the best of both worlds. The soloists and the orchestral musicians are assigned roles that enable them to play to their strengths. The conductor mediates. The forcefield is maintained. Just as the improvisers are told not to study the orchestra music, to avoid coming to a fixed idea of that soundworld, so too are the orchestra and conductor confronted with the sonic, dynamic and gestural unpredictabilty of the soloists. Improvisation and interpretation meet head to head."

The Polwechsel project has been exponential in defining new approaches to the composition/improvisation paradigm and in doing so have created a music that defined, examined and radically reassessed it's own genre. Each phase of Polwechsel has been marked by a defining document and the releases of their recordings have frequently book-ended trends and movements in improvisational and experimental music-Polwechsel has had a direct and profound influence on the agenda of a genre coined electro acoustic improvisation, for example On Archives of the North, Polwechsel has switched again. The unit has transformed itself by adding the two percussionists, and these works all deal the application of percussion as centrifuge. This is a generative music which stems and blooms from a controlled and deliberate structural center. This work ascends from common notions of musicality and sound production, where obliteration, feedback and the extraneous are emancipated into a fully blown dialect which could be defined as expanded technique. -Dean M. Roberts. Hatology. 2006.