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“What if Cubists like Cézanne created music?”
From the soft, digital murmur of notation software and the absence of physical instruments, The FURICO Music Team (FMT) emerges, not as a band, but as a motion. A pendulum. A thought experiment materialized in waveform.
Founded in Japan and composed of TM and TI, FMT is a conceptual unit for sonic construction and transformation. They describe their works as “Auditory Art,” where sound is both medium and inquiry. Every note is born in a digital void, composed entirely through notation software and production tools, unbound by fingers or fretboards.
Their latest album, Le Cube Dans Mon Rêve (The Cube in My Dream), is a speculative sonic response to Cubism, not its visual representations, but its method. Its disassembly. Its ghostly logic. The origin spark was a quietly buried drawing by a guest collaborator, Chiaki Tamura, a torn, reassembled work titled Temps et Regard (Time and Gaze), which became both a mirror and a catalyst for TM reexamination of Cubist thought in sound.
As TM reflects, “Music history seemingly skipped a Cubist movement. While visual arts progressed through Fauvism, Cubism, Expressionism, and Futurism before reaching abstraction, music moved almost directly from so-called Impressionism to dodecaphony, as developed by Arnold Schönberg and others.”
What if that missing chapter had existed? What if sound could be prismatic? What if musical time, like a shattered face in a Braque or a bottle in a Picasso, could be reassembled, fragmented, and out of order?
The album unfolds in the exact order of its creation, beginning with Cube 1: Le Déclencheur (Trigger), a digitally imagined chamber piece that asks, “What if Cézanne composed music?” Drawing on his visual innovations, it proposes a kind of “Neo-Impressionism” in sound, fusing Cubist ideas with tonal ambiguity and rhythmic displacement to suggest fragmented perception. Originally intended as part of a suite with Cube 2: Les Tentatives (Attempts), a geometric deconstruction of the first, these two works became the seed from which the remaining tracks organically emerged, each one reflecting a new facet of the same conceptual object as it is turned, refracted, and glimpsed from shifting angles.
Though FMT work is forward-leaning, it resonates with the subtle futurism and ambient sophistication threaded through Japan proto-electronic and fourth world histories. Their music evokes, not imitates, the spatial elegance of Interior, the crystalline classicism of Satsuki Shibano, the fluid bass geographies of Motohiko Hamase, and the generative logic that once launched YMO into myth. These references arent about genre, but rather a shared instinct to reshape sound into unfamiliar, emotional forms.
This is no academic exercise. FMT palette is strange and delicate, cool and distant, yet tenderly off-balance. Voices, or echoes of them, drift like fleeting thoughts. Le Cube Dans Mon Rêve is Cubism remembered as it never was, a dream fragment of a movement music never had.
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