There is no doubt that “II” shares some DNA with the original, but its’ diversity is driven much further: concrete -ambient drone collage forms are offset with more traditional instruments, song structures, and arrangements. In other words, this is an album of extremes in all directions, and yet, anchored by the signature abstract electronics, broken down drum machines and rhythms, crumbled synths, melodicas and mellotrons, with a healthy side dish of warped field recordings and slowed tapes.

Trying to put the Talking Book into one category is impossible, and in many ways, this record is antithetical to what “genre music” is all about. Though the approach to creating the record has been original there are obvious echoes of Eno’s earliest ambient projects and his Bowie collaborations, 60’s Serbian and Czech soundtracks, English folk and coastal melodies, intertwining prog guitars met with dusty electroacoustic tape music and Lynch’s Eraserhead score.