Piano Concerto No. 2 by Žiga Stanič is conceived as a single-movement work. It is characterized by a pronounced use of extended piano performance techniques and prepared piano, as well as the preparation of various orchestral instruments and the inclusion of an electroacoustic part. The central thread of the performance technique foregrounds the piano as a percussion instrument, integrated with the orchestral percussion section. As in many of his other works, Stanič employs orchestral onomatopoeia, aleatoric procedures, and an anti-dramatic tension oscillating between the absurd and the tragic. The treatment of undefined pitch lines, articulated through fixed and moving sound planes, affects the listener with a sense of virtuosity and psychoacoustic elusiveness. The core idea of the concerto reflects the all-pervasive presence of mechanical automation and the expansion of artificial intelligence in contemporary life, expressed through the added interweaving of mechanically produced piano sound and electroacoustic elements. Here, as in most of his oeuvre, Stanič aims at a polystylistic distance from fixed aesthetic norms—or at least at a polymorphic compositional structure—which most truthfully reflects the time in which we live: a time of informational overload, in which the individual searches for identity and ultimately merges with and identifies through this very flux.