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Xerrox Vol. 2 undertakes an intense journey and affords the luxury to take its time. While Xerrox Vol. 1 referred to the "old world" with its tradition deeply rooted in classical music, Vol. 2 tries to access a "new world". It works with samples that have been gathered and developed in the United States – the so-called "new world" – where the album also has almost completely been recorded.

The dramatic and dynamic approach of Xerrox Vol. 1 has been replaced by a structural density. Instead of working with individual musical entities, the new album rather develops an overall, linear aesthetic that refers to musical strategies of film music. Hence there are no implicitly singular pieces, but open musical structures – a journey without a predetermined target.

The first four tracks actually condense to one track, using samples of Michael Nyman and Stephen O'Malley. They kind of combine to a soundtrack as for a movie before fading away in a swell of reverb feedback. Xerrox Sora is a rudiment from the collaboration with Ryuichi Sakamoto, which originates from and has been performed as encore during the 2004 Insen tour. Continuing from Xerrox Monophaser 2, the album creates a dense and interweaved complexity, which only gradually unfolds its depth. While Xerrox Teion dissolves in the process of copying into another sample rate (xerrowed), Xerrox Teion Acat again tends to re-condense its quality.

Xerrox Vol. 2 seems to be more playful than Xerrox Vol. 1; following the approach of a live set, it is not so much obligated to a theoretical concept. Therefore it intends to break a static framework before it gets too restricted. The eleven tracks serve as documents of an immediately experienced time or as attempts to unfold in an endless space. In this sense, the album comes close to the idea of the Aleph-1 project that tried to disappear rather than occupy an endless space.

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