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The front cover is the result of James scratching the Aphex Twin logo onto the back of a leather travel case, which Sam took a picture of. The fan names listed below for the song titles are based on the original UK artwork. Furthermore, many images were altered for the US CD pressing: several of the blurry or out-of-focus photographs were replaced with entirely new, in-focus images and the image for "" was replaced with a blank space. Different crops of the images were used for the cassette booklet and vinyl labels. All images are in sepia tone, save the one used for "Blue Calx", which features the track's name against a blue field (this was changed to a plain light blue background in the US version). He stated in an interview with Resident Advisor that the images were taken by "Richard's girlfriend at the time, Sam" and that most of the photographs were taken in a flat that the three were all living in together. The artwork for the album was designed by Paul Nicholson, who was credited as Prototype 21 in the liner notes. Instead of pseudopastoral peace, it evokes an uneasy silence: the uncanny calm before catastrophe, the deathly quiet of aftermath." Artwork Isolationism is ice-olationist, offering cold comfort. Simon Reynolds commented that on Volume II James changed styles "from the idyllic, Satie-esque naivete of early tracks like ' Analogue Bubblebath' to clammy, foreboding sound-paintings." Reynolds stated that, along with other artists such as Seefeel, David Toop and Max Eastley, James had moved from "rave into the vicinity of " isolationism", a term coined by Kevin Martin to label music which "breaks with all of ambient's feel-good premises. The track 'Spots' features a sample taken from an interview with a woman who had murdered her husband the tape having been pinched from a police station by a friend of James' who worked there as a cleaner.
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The album itself makes liberal use of microtonal musical tunings, which James was investing himself in at the time. Volume II differs significantly from the first volume in the series, in that it consists of lengthy, textured ambient compositions with sparing use of percussion and occasional vocal samples, in a vein Rolling Stone related to Brian Eno's early ambient works and John Cage's minimalism. It's just like a right strange dimension." James described the album as being "like standing in a power station on acid" he continued that "if you just stand in the middle of a really massive one, you get a really weird presence and you've got that hum. He claimed to have natural synaesthesia, which contributed to this album. James stated that the sounds on Selected Ambient Works Volume II were inspired by lucid dreams, and that upon awaking, he would attempt to re-create the sounds and record them. However, its stature has grown considerably in subsequent years and it later placed on various best of the decade lists by publications such as Rolling Stone, Spin, and Pitchfork. Selected Ambient Works Volume II was not especially well received by critics upon release, but peaked at No. James claimed that it was inspired by lucid dreaming, and likened the music to "standing in a power station on acid." Billed as a follow-up to James' debut Selected Ambient Works 85–92, the album differs in sound by being largely beatless ambient music. Selected Ambient Works Volume II is the second studio album by Aphex Twin, the pseudonym of British electronic musician Richard D.