There are the usual features that Masami Akita employs in his work: mastering at a face-melting volume, piercing high pitched noises, sand-blasting roars of sound, and, particularly in recent years, the obligatory Save the *insert animal here* artwork. On this last point Akita is normally very heavy handed and just slaps a picture of the animal on the cover or some less than subtle point about vivisection (but then is there anything subtle about a man who has spent his life trying to deafen the world) but on Dolphin Sonar he has made a far more concerted effort at a protest album. All of the sound here can be described as manmade violence or Akita's representation of marine life as envisaged by the dolphin; his anger is directed at where the two ideas meet.