The original concept of the Rothko Spaces project - realized in Volume 1 with David Torn - was to combine electric guitar performances (played with a massive amount of feedback and distortion) with the sounds of a string orchestra. For Volume 2 and the involvement of Markus, the guitar was of course going to be replaced by touch guitar. Markus also took the feedback idea to the next level by setting up a sound system consisting of 5 cranked-up tube amps that made the whole tracking room a vibrating and unpredictable instrument with a sonic life of its own. There were microphones everywhere, including inside the grand piano (with the sustain pedal held down by a brick) and in the cellar (where you can hear the occasional car going by).