by Jason BirchmeierFollowing Matador's compilation of Pole's earliest material released in the U.S. as 1, the New York label released a second album of the Berlin artist's material as 2. The six-song record fits somewhere between the structural exercises of 1 and the ambient minimalism of 3, released a year later in summer 2000. By the time Matador released 2, a substantial amount of hype surrounded Pole producer Stefan Betke's music. His relationship to the Chain Reaction camp in Berlin was cited numerous times along with his dub influences. These exciting comparisons to Basic Channel and Lee Scratch Perry gave journalists plenty to write about, but underlying this hype, Pole proceeded to undeniably progress artistically on 2. The album retains 1's interest in musical ideas and structural possibilities, but it moves beyond mere theory to create six songs that affect the listener emotionally as well as cerebrally. The six songs of 2 put a greater emphasis on the underlying bassline, flirting with the listener's preconceived notions of rhythm and how it should operate. Besides the hints of funk that differentiate 2 from its predecessor, the album also tends to more evenly distribute the ideas of 1 into every song rather than just one or two songs. What results is a more cohesive sound from the opening moments of Fahren to the closing moments of Weit. This consistency signals the evolution of a signature style for Betke that makes comparisons to artists such as Maurizio less valid. With 2, the artist has differentiated himself away from his influences. Furthermore, 2 isn't nearly as abstract or minimal as 3, making it a better starting point for first-time Pole listeners still accustomed to looping basslines and accessible rhythms.