This essay considers the politics of sound on the model of migration and borders, that is, as concerning flows and codes, inclusions and exclusions. A rigorously materialist analysis of sound would consider it as one of the many flows that constitute nature and culture. On this model, the fundamental function of society is to code flows, that is, to intercept them, organize them, regulate them, channel them in particular directions, impose meanings and limits on them, and the like. A politics of sound, then, would consider the local and global circulation of sound, its flow, capture, and blockage, the forces (technological, legal, economic, cultural, social, moral, linguistic, racial, gendered, etc.) that accelerate, decelerate, and otherwise inflect it. It would ask: What are the forces that generate sonic flows and propel their movement and circulation? What are the forces that constrain this sonic flux sufficiently to enable it to congeal into languages, musical styles, or scenes? And what are the forces that block, annul, or cancel these sonic flows?