Kyushu native Tetsu Inoue's recent works connect the vivid environments-in-sound of classical ambient with the stark, conspicuous timbral explorations of academic computer music. Tetsu s second release for Tzadik delves deeper into the methods of sonic microscopy that marked his debut, constructing minute, peerless sound-surfaces that break apart and reconstitute in the shifting, 'nth'- dimensional space of the ear. While related, Tetsu's intentions differ sharply from those of post-digital composers mining the bitscape for evidence of technology s failure. In the ecstatic bustle of sound particles careening through acoustical space can be heard the distinct inflection of a new means of expression struggling to life.