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.
