NEW ARRIVALS

The Boy and the Tree was composed after a visit to Yakushima Island, an outstandingly beautiful world heritage site off the southern tip of Japan, scored by a deep, lush and ancient ravine, home of the ancient 7000-year old ‘Jōmon Sugi’. Tree. Also the inspiration for Miyazaki's epic anime Princess Mononoke, a conflict between the rampant greed and destructive force of humanity, and the stoic, mysterious fragility of nature. This fleeting immersion in nature lent the album a profound introspection and mystery, and the its twelve tracks unfold in dream sequence, each drifting seamlessly into the next while still managing to steer the listener in myriad directions, from eerie butoh atmospheres, to ebullient raga, to desolate, cavernous chanson. The Boy And The Tree is definitely one of, if not the most, visually evocative and cinematic Yokota releases.

“The Mighty Tiny & The Many Few have released their debut Album ‘Be The Good People’ A life- and love-affirming record crafted with vintage techniques and timeless principles. Walshy Fire (Major Lazer) bridges cross-continental connections in collaboration with Grammy-winning composer and writer Randy Valentine, a South London-based artist hailing from Clarendon, Jamaica. Joining them is Copenhagen-based improvisational jazz visionary Steven Jess Borth II, aka CHLLNGR (I Am An Instrument) along with the crème de la crème of Danish jazz talent, including Morten McCoy, Jonathan Bremer, Rumpistol, Mikkel Hess, Laurits Qwist Bilén, Frederik Scharff and more. For over two decades, Randy Valentine has cultivated a distinctive voice in music, and his latest work with the concept band The Mighty Tiny and the Many Few brings this artistry to life in a fresh, vibrant way. Brought together by Steven Jess Borth II and Walshy Fire, the band unites over 15 musicians from three continents, celebrating collaboration and shared joy. Alongside Ånd&, the team has crafted a musical masterpiece that resonates with a global perspective and a collective spirit of creative expression. "Be The Good People" is both a statement and a declaration of revolutionary love—a bold call to action. This seven-track album blends soul-drenched, horn-driven, and timeless instrumentation with forward-thinking, insightful lyrics inspired by life’s triumphs and challenges. The result is a powerful musical journey, promising to be a rewarding ride for every anchoring ear. ‘Be The Good People’ is released independently on new label imprint Ånd&.”

Lo Recordings are very proud to announce the release of a beautiful collaborative project. A seamless sonic journey that guides us through the filmic landscape of a bygone era. Chiming in the past and resonating in the present. Meg Morley and Haiku Salut combine their talents for the reimagining of a score for the 1930's silent film People on Sunday. Inspired by their live performance and screening of the classic at the Flatpack festival. The release was five years in the making as they set out to capture the compositions in the studio, blending Morley’s expressive piano with Haiku Salut’s textured electronics. The result has given rise to an album that belies its historic source with a fresh and clean sound and a complex ever moving series of compositions.. 'The Lost Score' is a vibrant contemporary album for our time. Haiku Salut are an instrumental trio whose music blends electronica, neo-classical and folk into richly layered, cinematic soundscapes. Known for their enigmatic performances and live scores to silent films, they create immersive experiences that merge timeless visuals with modern experimental sound. Meg Morley is a Melbourne-born London-based pianist, composer and improviser who pursues cross-cultural and interdisciplinary collaborations, focusing on storytelling. Her classically trained precision and jazz-inflected improvisations have brought her to prominence through her compositions for classical and jazz ensembles, accompaniment for dance companies (Pina Bausch, English National Ballet) and her internationally-acclaimed original scores for silent film.

Colours Of Absence is the follow-up to Original Soundtrack. Both albums were written during the 2020 pandemic lockdown, which was no doubt a phase of experimentation and pushing boundaries, as producers found themselves with a lot of time and no dancefloors. This saw ASC pushing himself creatively and focusing on instrumentation within his ambient music, and in the case of both Original Soundtrack and Colours Of Absence, this meant the piano. The piano focus is a little less obvious in Colours Of Absence though, as this album attempts to strike a balance between ASC's 'traditional' beloved ambient work, and the aforementioned Original Soundtrack. 9 tracks spread over two slices of clear vinyl that will take your emotions on a journey like no other. Sit back and absorb Colours Of Absence.

Pilah started his carreer as guitarist in Kaly Live Dub, a band from Lyon, in 1995. Pioneer of the french dub, Kaly Live dub made a lot of international tours. He founded in 2000 the well known Dub Addict Sound System with the selector Nineteen Dub in 2000. This Collective gather other producers like Anti Bypass, Boudou, Roots Massacre, and singer like Joe Pilgrm and Learoy Green. They adapt studio mixing method to the live. Pilah mixes live his own productions and offer some rough sets of sharp reggae-dub, DIY manipulations, with voices of singers like Rod Taylor, Echo Minott or Shanti D. During his live sessions, he likes to snake up norms and standards, combining reggae sounds to corrosive dub and neat arrangements. He released his first production in 2005 with Dub Addict Sound Sytem for the S.O.U.N.D 12” serie. Since then, he collaborated with many labels, like Jarring Effect, Hammerbass or Sound Around. Today, he presents his new album O’CLOCK with Bat Records.

I Am An Instrument Vol. 1 was recorded live in Copenhagen Denmark and what you hear is 100% improvised music. When the band performs there is nothing planned, except for which one of the members will start the song. After the initial note, it is everything goes. There were no edits in post production so what you hear is what you heard at the venue back in 2019.

Green Arrow Sound System is the DUB sound system from Paris, organising underground parties all around the city and the country. Home-made SUB is the rule here. The label is directly from DUB Diggler, the manager of this project. Von D and Moresounds are the only ones pressing music on Green Arrow. We do not need to explain who they are ? Do we ? StayReo, the official Graphist of Green Arrow, is a major StreetArtist from Montreuil/Paris, as well as a great DJ and party provider This production is a true Underground Project from Paris defending Street & Sound System Cultures !

Smalltowndubz are back on the BCSM label. After their big ''My Garden'' EP and the great ''Way Of Dub'' tape, the austrian producer duo returns with a extra heavy 12“ vinyl release. The A Side comes with a deep and meditative cut featuring the unmistakable voice of Fikir Amlak. ''Never Get Burned'' is a roots-infused anthem built for sound systems, followed by a thundering dub version. Flip the record and things get mystical. ''Sitar Dub'' brings in Lance Hume on sitar, weaving hypnotic eastern melodies into a deep bass meditation – again paired with a powerful dubwise version. This one’s for the selectors and the steppers. Dub with pressure. Don’t sleep!

Seasons pass and recording sessions flow. Flow one after the other. With each new release Dub Shepards & Bat Records solidify their undisputable position as one of the leading production teams and suppliers of reggae music. From the outskirts of Clermont Ferrand, the Dub Shepherds quench the thirst of roots lovers and soundsystem selecters worldwide. With their authentic sound and their studio built in the tradition of the Jamaican forefathers that is stocked with razor sharp musicians, MCs and singers- they are always ready to go to work. Equipped with an exclusive approach to dub: Jolly Joseph and Doctor Charty have the ways and means to produce and share their own take on this music they love so deeply. Today they produce a handcrafted sound that is made-in-France. Paying tribute to reggae music's foundation stones. Their new project coming out in May 2025 is the culmination of several years of collaboration between Dub Shepherds and Junior Roy, a regular at BAT Records Studio and a key figure in the global soundsystem scene. This release is the French singer and MC's very first LP, entitled "Troddin On". After the successful release of a 12 Inch 45 in the summer of 2023, the Shepherds and Roy naturally began to ferment new ideas. The arrival of this LP on the turntables is both a milestone and a stepping stone towards the future of this union. As is customary with BAT Records the sound is warm, the basslines heavy and the riddims groove on solid rhythmic footing. "Troddin On" revives the feel of 80s and 70s Jamaican music. Behind the mic, Junior Roy navigates the highs and explores the sacred themes of the genre. His voice is vibrant, his emotionally charged lyrics soar, embracing instrumentals. Perfectly tailored to fit. This is roots music, this is reggae, no detours—each track is paired with its dub version, giving the project a traditional album showcase format. And when it comes to Dub, with the Dub Shepherds it’s all about "Hardmix"—no compromises, just great mastery!

The opening 12” salvo from the Ital Counselor Record Stable has arrived. The fruits of a long bubbling idea to bring back from the sands of time the moral thrust and crystalline conviction of the mighty Martin Luther King Jr. in a dubwise style. In a time like now as the individualistic ethos of the Century of the Self arrives at its logical end game we call all massive and crew to sit tight and listen keenly… A double A-side bass thriller with a message for the ages, NOT ENOUGH, features the musical legacy of two dear friends and two of our favorite contributors to the global reggae sound system community. JAH WARRIOR meets RSD (Rob Smith)…Paired together for the first time ever in a back-to-back dub conference… Side A sees JAH WARRIOR bring the weight and force we have all come to expect from Steve Mosco’s 25 plus year body of work. Like sheering frequencies bouncing off the brutalist architecture of our modern urban landscapes, his rendition is direct and to the point. MLK’s words lay on top of a horns man stepper ready built to rattle speaker boxes outernationally. Brace yourself… Side AA features a re-imagining of Jah Warrior’s cut by the stalwart of bass culture Rob Smith under the guise of his RSD moniker. All dubb’ers will recognize the name. From Smith & Mighty, More Rockers and Blue & Red Rob has influenced a generation of fans, sound system operators, and selectors worldwide. This Re-Rub keeps up the quality, the subtly and sub that we have come to appreciate from his body of work.

This classic Jamaican party album was recorded in 1967on Duke “the Trojan” Reid’s Treasure Isle label. It sold well locally and saw a UK release where it was a hit on the hugely popular ska and soul scene. It pre-dates the reggae boom and defines the short-lived rocksteady era fusing down beat ska with doo-wop and angst-drenched soulful vocals. The Paragons, featuring the signature vocals of lead singer John Holt, have been compared to a laid-back Four Tops with a tinge of Beach Boys thrown in. Whatever your view there is certainly an R&B flavour in the vocal harmonies and it’s easy to see why this sought-after album is at the foundation of any Northern Soul or reggae collection. The soulfulness of The Paragons is no more apparent on Harry Belafonte’s classic ‘Island In The Sun’, ‘Happy-Go-Lucky Girl,’ ‘Only a Smile’ and their original feel-good recording of ‘The Tide Is High’ which became an international hit for Blondie in 1980. A fabulous rocksteady record underpinned by the super-tight session band Tommy McCook and The Supersonics.

The Seed You Sow… Dud Shepherds met Echo Minott in 2016 through the Dub Master Clash project, a concept of dub events which saw several dub producers “clash” against each other (Pilah, Fabasstone, Anti-Bypass, Roots Raid, Dub Shepherds) with a lot of remixes and hardmix. Echo Minott Officiated as Master Of Ceremony on several occasions, and a solid friendship was born between the Jamaican and the young producers from France. From these clashes of reverb and echo was born a maxi 12”, “This World is ina Mess”, engraving in wax the first collaboration between Dub Shepherds and Echo Minott. To be continued... …You Shall Reap Someday In 2023, Dr Charty goes to Jamaica with a bag full of fresh riddims, and is welcomed there by Echo Minott. Do you see the blackboard ? We will spare you here the photos of the trip, and let us only select the fruit of this musical encounter, five titles that make up Mango Tree - Showcase. Enjoy Music Lovers!

the first-ever reissue on studio mule of the debut album by japanese jazz legend and bassist yoshio ikeda. having performed with such illustrious figures as sadao watanabe, masabumi kikuchi, and terumasa hino, ikeda’s first album as a leader features pianist and vocalist ichiko hashimoto—also known for her involvement with yellow magic orchestra—berlin-based jazz pianist aki takase, and leading japanese drummer motohiko hino. avant-garde yet imbued with a distinctly japanese sense of melancholy, this is a work that resonates profoundly with the present moment. the gem “whispering weeds,” highlighted by thrilling piano and hashimoto’s evocative scat vocals, was also included on a compilation by bbe. remastered from the original master tapes by kuniyuki, the album has been revived with a richer, more lustrous sound in this definitive reissue.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing. The Setting Sun first emerged on Echospace as a CD-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces. Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured. In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence. record release of 200 copies, printed sleave, numbered.

Mesmerising album of Yokota’s earliest sonic explorations that demonstrates his unique vision and sublime transcendence of boundaries.

‘Image 1983-1998’ is a collection of short miniatures, composed in two different time periods. Tracks 1-5 were recorded with guitar and organ between 1983-4 and tracks 6-12 were composed through 97-98, being inspired by the earlier material.

A musical scrapbook, or sonic design board. The sleeve notes give an insight into Yokota’s belief in a close connection between music, memory and his active imagination: ‘Encountering Acid House made me visualise music – I could clearly see the sounds sparkling… this experience led me to create electronic music.’

One of Yokota's most loved releases that explores the intersection of jazz, new age ambience and a world of found sound and samples.

Grinning Cat confounded devotees of Sakura with a far more complex set of tracks. A landscape of ambiguous emotional resonance within an album of measured extremes. Sentimental without being schmaltzy, joyful without being saccharine, Grinning Cat sees Yokota at his most playful and experimental, channelling moments of transitory wonder and jubilation, and opening up a sonic environment in which we can romp and play.

Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These compositions belong to the same creative period as the works included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). The pieces “Mundos Flotantes,” “Horizontes Lejanos,” and “Arrecifes en el espacio” were expressly composed for the concert Travesía Acuastral, presented by Linde in February 1991 at the Casa Rómulo Gallegos during the 3er Encuentro de la Nueva Música Electrónica. This event, produced by Maite Galán in collaboration with the group Musikautomatika, was a milestone in the development of an experimental electronic music scene in Venezuela, which at the time was one of the most vibrant in Latin America. The name Travesía Acuastral reflects the surreal imagination that inspired much of the artist’s work. These ideas, centered on extraordinary ways of perceiving reality, also connected with alternative meditation practices such as Reiki, which attracted Linde’s attention from the mid-1980s to the early 1990s. This period followed her departure from her career as a chemical researcher due to severe health issues. During this time, she composed a series of pieces for meditation sessions, four of which are included in this compilation: “Luciérnagas en los manglares,” “Estrellas I” and “II,” and “Kerepakupai vena.” The latter references two words from the Pemón Indigenous community in southeastern Venezuela, meaning Salto Ángel [Angel Falls]—the name of the world’s tallest waterfall, located in the state of Bolívar. Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde’s career is an example of resilience and innovation. After leaving her work as a chemist due to health problems, Linde turned to music, experimenting with synthesizers to create an evocative sound universe. She produced a substantial amount of recordings during the 1980s, many of which remained unpublished until the release of Aquatic and Other Worlds. Since then, Linde’s work has been compared to artists such as Isao Tomita and Suzanne Ciani. Travesías further establishes her as an essential figure in electronic music and continues to unveil one of the most fascinating musical archives of Latin American electronic music.

SONIC TRANSITS Electronic and Tape Music by Peruvian Composers (1964-1984) This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape. However, several Peruvian composers faced the dilemma of how to continue these sonic explorations locally without relying solely on specialization trips to access the infrastructure of major international laboratories. Due to the inability to establish a laboratory for electronic music production in Peru during these early decades, given the weak institutional framework of the academic music circuit and the absence of budget allocations for the National Conservatory, it was rather private initiatives in recording studios that paved the way for the sustained production of experimental pieces with electronic setups and media, largely oriented towards the production of music for film and dance. This was accompanied by a notable interest in utilizing the sounds of native Peruvian instruments. This also marked a shift from an internationalist model of electroacoustic music towards an openness to other types of sonic experimentation. Composers such as Arturo Ruiz del Pozo, Luis David Aguilar, and Corina Bartra belong to this new period, which also marks the emergence of an initial scene of experimental music and free improvisation. Ruiz del Pozo pursued a Master's in Electronic and Film Music at the Royal College of Music in London, where he composed "Selvynas" (1978), part of his series "Composiciones Nativas," concrete music pieces based on native Peruvian instruments. Upon returning to Lima, he continued producing music for films using electronic sounds and setups. Luis David Aguilar also became involved in music for film and television, composing, among other works, "Hombres de viento" (1978), the soundtrack for José Antonio Portugal's film, which mixes native and Western instruments amplified and processed electronically. He would be one of the first to have a private recording studio. Corina Bartra, after being part of various improvisation ensembles alongside musicians such as Ruiz del Pozo and Aguilar, traveled to London where she took courses in composition and electronic music, composing the mixed work "Aves en vuelo al sur" for voice, instruments, and tape in a private studio. Sonic Transits: Electronic and Tape Music by Peruvian Composers (1964-1984) is part of the Essential Sounds Collection series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been curated by Luis Alvarado and is published in a limited edition of 300 copies in double vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art and desig by Gonzalo de Montreuil.

Just as the hippie era came to an end in America, a second 60s was beginning. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music “heavy,” because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, Watch Out, was the anthem of the counterculture. This is the first time their music has been issued outside of Zimbabwe. Matthew Shechmeister tells the story of Wells Fargo drawing on interviews with the band’s remaining members and numerous trips to Zimbabwe to investigate the genesis of the heavy rock scene under Ian Smith’s oppressive government, and its dissipation after Zimbabwe’s liberation. Never-before-published photographs and rare ephemera color the vibrant era of which this band was part.

Lucciole is Silvia Tarozzi’s luminous follow-up to the intimate reflections of Mi specchio e rifletto and the deeply rooted folk dialogues of Canti di guerra, di lavoro e d’amore with Deborah Walker. Here, Tarozzi draws together voices, memories, and musical lineages to create an album where avant-garde composition, personal narrative, and collective resonance exchange freely.

The album opens with a radiant brass ensemble—chosen for its popular, celebratory, spiritual sound—and closes with the Piccolo Coro Angelico, the children’s choir she has worked with for over fifteen years and calls “my best school of composition and a constant gym of hope.” Between these bookends, Tarozzi’s songs trace life’s transitions with a rare tenderness: childhood into adolescence, health into fragility, presence into absence.

Two central songs—her own “Lucciole” and a glowing live-in-studio cover of Milton Nascimento’s “River Phoenix”—honor a beloved friend whose life and presence evoke new horizons. “Corallo e perle,” inspired by a dream her grandfather had after her grandmother’s passing, becomes a gentle, dreamlike meditation on the persistence of love.

The strings, voices, and melodic contours that define Mi specchio e rifletto reappear here with new warmth and depth. Produced by Tarozzi in close collaboration with Marta Salogni, who engineered and mixed the album, Lucciole carries a clarity, intimacy, and sonic generosity that reflect their shared journey through the recording process.

At its heart, Lucciole is an album about small lights carried through moments of transition—an invitation to listen closely to the places where life changes, and to the people, living and remembered, who illuminate the way.

As hard as obsidian and blazingly fast bass playing, ferocious orchestral soundscapes, and a relentless series of sharp turns traversing progressive, ambient, electronic, and experimental music—this ambitious work, true to its name “Chamber Concerto,” pushes the very limits of musical structure itself.

Bruce Haack's "The Electric Lucifer" is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69, it's an eminently listenable work where Pop-psychedelia and Moog musique-concrete sounds coalesce.

ノイズ界の二大巨頭、Merzbow と Bastard Noise が真正面から激突したコラボ作『Brick Wall Evolution』。Merzbow の流動的で有機的なハーシュノイズと、Bastard Noise の低域重視のパワーエレクトロニクスが融合し、圧倒的な密度と質量を持つ音響が立ち上がる。高周波のきらめきと地鳴りのような低周波が層を成し、混沌と秩序が同時に存在するノイズの地形が刻々と変化していく。タイトル通り、進化した音の壁！！