The idea behind second interlude is similar to that of the first interlude, to create sonic space that is a respite from musical directedness with a focus on textural development rather than overt linear movement. The absence of defined rhythmic pulse allows the listener to simply float in the space around them as opposed to travel through it with a specific destination or intent. One could compare this to the difference between driving and sailing. When driving, the scenery is for the most part stationary and fleeting whereas here the view is a perpetual and fluid panoramic horizon.
Second Interlude was composed drawing primarily on sonic elements from the previous volumes, reimagined in new configurations and settings. When working on the volumes, the largest part of our time is spent creating new sounds and we wanted the opportunity to explore some of those sounds in another environment to see how they would interact with one another. A compositional technique somewhat influenced by John Cage's "chance music" was used to create a basic framework utilizing our palette of sounds. Initially, different elements were layered together, at times randomly to allow for unplanned interactions, then we actively shaped the piece and recorded additional material where necessary.