Alva Noto :: Xerrox Vol. 5 (Noton)

As a career-spanning series of albums, not every Xerrox volume is likely to appeal to everyone, but it remains a breathtaking, timeless set of ambient albums unlike anything else in Alva Noto’s now extensive canon.

The Xerrox series now goes out with a monolithic bang

Seventeen years. It’s been a full seventeen years since Alva Noto released the first volume in the planned Xerrox tetralogy, originally announced as an exploration into the effects of constant reduplication, hence the nod to photocopiers and other duplication devices. And yet those fascinated by this initial concept, could be forgiven at this point for failing to see a proper through-line or obvious progression of that theme.

What we got instead appears to be more of a reflection of the influences exerted upon Carsten Nicolai over those many years. The first two sonically similar volumes were released within about a year and half of each other and were easily the most representative of the original concept, but it was then over six years before the largely overlooked Volume 3. This delved into the realms of microtonality, no doubt coloured by Noto’s collaborative work with Ryuichi Sakamoto where a similar exploration was conducted on Summvs, the final release in what came to be known as the V.I.R.U.S series.

Since then, electronic strings have become a major part of the Xerrox series, resulting in the more emotive and melodic Volumes 4 and now Vol 5. It’s no great surprise when placed in the context of the other work Noto had been engaged in over this time: live performances with the late Sakamoto and Ensemble Modern, soundtracks for film and stage, and the Bowie cover collaboration with William Basinski and Martin Gore of Depeche Mode fame.

The Xerrox series now goes out with a monolithic bang, presenting twelve new tracks that—at a total of one hour and twenty minutes—make this behemoth the longest volume in the series. While Volume 4 had a sort of weightless, hovering quality, Volume 5 feels like it has real momentum, a relief given its length, making this probably the most memorably melodic, grandiose and panoramic work to date.

It very much starts where Volume 4 left off, with swathes of strings and deep sub-bass blown by a constant, gentle wind but it immediately brings melody even further forward in the formula before fading away over two minutes of electronic chimes and a static drone.

Randomly interspersed with rumbles and crunches ::

Some of the most memorable, pensieve and emotionally moving melodies are to come, such as the descending notes of the chilly, rubber-band distorted “Xerrox Ascent I” giving way to the bristling warmth and “Xerrox Ascent II.” The glittering, chrome-plated “Xerrox Ada” is quite possibly the most heart-breaking piece in the entire series, with swelling strings and more descending melodic keys.

It’s not without some more abstract, experimental moments, however. “Xerrox Sans Nom II” is randomly interspersed with rumbles and crunches that sound halfway between thunder and huge chunks of ice breaking up, “Xerrox Sans Repit” features structured clicks that hark back to Noto’s earlier work with Sakamoto and the haunting “Xerrox Kryogen” is punctuated with the wails and cries of robotic wildlife and swelling, zithering strings that reach tumultuous, almost frightening peaks.

This brings the series to its close as it segues directly into “Xerrox Isotope,” a track that seems to encapsulate the series’ initial concept within its progressive eight minute lifespan. a sustained deep bass drone until it becomes everything begins to break up. In a similar manner to the crackling final moments of Autechre’s Chiastic Slide, Noto holds on three minutes of electrical hum and hushed pink noise, making this an affecting and memorable farewell to Xerrox.

As a career-spanning series of albums, not every Xerrox volume is likely to appeal to everyone, but it remains a breathtaking, timeless set of ambient albums unlike anything else in Alva Noto’s now extensive canon.

Xerrox Vol. 5 is available on Noton.