Composed around 2012, this piece underwent numerous revisions until 2020 to achieve its final form. While conceived with the aim of composing in an idiom imbued with Japanese sensibility, the use of pentatonic scales was meticulously avoided. I believe the resulting work features a pleasant resonance derived from the clashes and frictions of sounds. This piece is particularly recommended for those who might feel a certain reluctance or self-consciousness regarding overt Japanese aesthetics.