Audiopile Review: We did not see this coming. Obviously, we’re not surprised to be hearing yet another new album by glitch legend Carsten Nicolai aka Alva Noto. Dude is as prolific as the godlike Peter Hammill, just to pick an example at random. And he’s consistent, so we’re not surprised that this new album is awesome. We’re just surprised to see a new entry into Nicolai’s ‘Xerrox’ series (volume five, the first since 2020). His recent ‘HYbr:ID’ series seemed like an attempt to synthesize the ‘Xerrox’ and ‘Uni’ albums into a complex encapsulation of his entire aesthetic. But here he is, taking it back to the source, distilling core musical elements back into their purest form. The ‘Xerrox’ albums always seemed like an attempt to align the process and mood of William Basinski’s ‘Disintegration Loops’ with Alva Noto’s pristine digital aesthetic. This is logical given that Nicolai’s Ratser-Noton label released Basinski’s ‘The River’ back in 2002 (the same year those original ‘Disintegration Loops’ came out). Alva Noto fans will need this, of course, and Basinski fans are strongly advised to investigate the entire ‘Xerrox’ series. All the volumes are phenomenal, and this is as good a place to start as any.

Double LP version. NOTON presents the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series. For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images — both visual and acoustic — that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist’s evolving perspective and conceptual approach. Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo. The conclusion of this album holds a sense of finality for the artist. In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. Drawing from his recent experiences working with film and larger ensembles, Nicolai’s approach to composition reflects a growing influence of classical instrumentation. The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance. “Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. “Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.” Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. The result is a layered listening experience that invites tenderness and introspection. Album art designed by Carsten Nicolai & Nibo. Mastering by Bo at Calyx.