While it collects commissioned pieces from 2003 and 2006 through 2008 (hence the title), all of the various tracks here were created for other works and performances, but are still unified as being crafted by the hand of Carsen Nicolai. While there are a few different approaches used from track to track, never do they feel out of place along-side each other, and both the Alva Noto penchant for abstract composition and almost danceable rhythmic electronics appear here.
 
Opening track "Garment" and "T3 (for Dieter Rams)" both encapsulate the aesthetic of Nicolai’s home label Raster-Noton, beginning with seemingly random electronic fragments that are molded into a tight rhythm as the track plays on.Both feature disparate noise surges and deep, heavy bass pulses with the occasional glitchy click or resonating bell-tone.Both begin with more of a collage sense, the sounds having seemingly little to do with each other.However, the sounds pull together and lock into place, the result is a pseudo-techno work that just demonstrates Nicolai’s ability to clinically sequence the smallest sounds into memorable, almost catchy pieces.
In other pieces, the source isn’t so much a software patch as a piece of organic sound that forms the basis of the work.The two takes of "Argonaut (for Heiner Müller)" are constructed on samples of heavy, bassy strings.In its initial format, it is a slow, additive sequence that slowly brings in mournful digital melodies and soft, white puffs of noise and maintains a sad, bleak quality throughout.The closing "version" take on the piece works from the same recipe, but by including warmer bells and a more complex layering of sound, the piece has a more rejoiceful quality to it, celebrating rather than mourning."Early Winter (for Phill Niblock)" also starts from a sampled string basis (of a Niblock composition), but includes just enough digital elements to give an inhuman quality, and as it continues on it channels a bit of Vangelis’ Blade Runner soundtrack, but composed by the replicants themselves.
The other pieces more inhabit the world of abstract sound collage without a specific organic grounding or traditional rhythmic structure."Stalker (for Andrei Tarkovsky)" brings in the dark tension of the 1979 sci-fi film, meshing heavy bass tones and higher register pieces, all with minor chord stabs to give a bleak feel appropriate for the inspirational material.The short "ANS (for Evgeny Murzin)" is a brief, but live piece based upon the infamous Russian ANS synthesizer that juxtaposes rapidly fluctuating tones with longer, drawn out analog textures.
While the tracks in For 2 may be dedicated and inspired by artists in a variety of disciplines, Nicolai’s devotion to carefully structuring the smallest of sounds into rhythmic passages, as well as the lush exploration of digital and digitally treated sounds unites these pieces into a cohesive whole.Although they have a consistent, unifying feel to them, the tracks are all strong on their own merits, with no sense of filler or padding inserted.Alone or together, Carsten Nicolai’s compositions here shine as exemplary examples of contemporary electronic music.
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