Just a quick jam in my studio with guitar, bass, and drums.

The shores of my mind

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 members TM and TI, FMT is less a musical group than a conceptual unit for sonic construction, deconstruction, and transformation. Describing their works as Auditory Art, FMT doesn’t simply make music; they create what they call "Auditory Art," where sound is both the medium and the inquiry. Every note is born in a digital void, composed entirely through notation software and production tools, unbound by fingers or fretboards. It’s a practice that reveals new sonic geometries and emotional architectures built in impossible spaces. 

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’s 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 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 foundational piece inspired by Cézanne’s visual innovations and imagined as a kind of "Neo-Impressionism" in sound, using 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’s work is forward-leaning, it resonates with the subtle futurism and ambient sophistication threaded through Japan’s proto-electronic history. 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 aren’t about genre, but rather a shared instinct to reshape sound into unfamiliar, emotional forms. FMT extends this lineage not by homage, but by dismantling its language to sculpt new, imagined architectures. 

But this is no academic exercise. FMT’s palette is strange and delicate, sometimes cool and distant, sometimes tenderly off-balance. Sounds echo without sources. Rhythms that seem to emerge in rehearsal. Voices, or echoes of them, drift in and out like fleeting thoughts. It's music composed not to replicate Cubism, but to dream it, to simulate its psychological weight as well as its form. As the album's subtitle implies, Le Cube Dans Mon Rêve is Cubism remembered as it never was: a dream fragment of a movement music never had.

The FURICO Music Team -  Cube 3: Collages (Le Cube Dans Mon Rêve, 2025)

Alē

🔗 New tracks monthly. Follow & listen on Spotify
open.spotify.com/intl-it/artist/3…yn1h42aeP11nH2KC

A journey through invisible scars and ghosts that never stop talking. This song was born from the need to give voice to the silence that follows an emotional wound, between sharp melodies and visceral lyrics.
"There is ash in my mouth / From all the screams I never found" - each line is a whispered or shouted confession, suspended between anger and weakness.

Intense vocals, dark atmospheres and deep lyrics blend together in a track that speaks of pain, memory and resurrection.
If you have ever loved too much, if you have ever lost yourself in the noise left by someone else - this song is for you.

🎧 Listen, share, let yourself be pierced.

Produced by EileenNoise
Singer and guitar Sophie 

You can hear other works with her here;)
https://soundcloud.com/zipboy83/sets/grunge-vocals-by-sophie

Verse 1
Numb again, I drag my skin
Through the static of your voice within
You left your ghost inside my head
Feeding on the words I never said

Pre-Chorus
And I sleep with your silence
Like a razor in the sheets
I dig my nails through the violence
Of the memories I keep

Chorus
There's ashes in my mouth
From all the screams I never found
I built a shrine of broken glass
To watch it fall, to make it last

Verse 2
Your name’s a wound I can't unlace
A shadow stitched into my face
You haunt the space between my bones
And play me like a dial tone

Pre-Chorus
I breathe in the poison
Of a love that’s gone to rust
Your fingerprints still poison
Every breath, every touch

Chorus
There's ashes in my mouth
From all the screams I never found
I built a shrine of broken glass
To watch it fall, to make it last

Bridge (scream or whispered)
Bury me beneath the static
Burn my name into the wall
If I rise it won’t be gentle
It’ll be to watch you fall

Final Chorus
Ashes in my mouth
(Whispers wrapped in flames of doubt)
Every kiss a loaded gun
I’m not the only broken one

Ashes in my mouth

This is a track from my album TALES OF A NOMAD, a collection of impressions from decades of living a nomadic life for professional reasons.

Homesick To Nowhere

A celebration of the most mistreated character in music video history:
https://youtu.be/8SbUC-UaAxE?si=F3SUAcM8Xf91NiF1&t=417

----

Three tiers
Nine hours of buttercream
And none of it...
was my damn fault

They built me tall in the back of a bakery
With trembling hands and nervous pastry
A tower of sugar, proud and obscene
White as sin and twice as mean

Fondant swans and wedding gold,
We were sweet, but we were cold
And we got hauled in a battered van
Like I wasn’t more than a five-day plan

I saw 'em kiss, I heard 'em cheer
I smelled cheap wine and bridal fear
They danced like gods, then slipped like men
And guess who took the fall again?

It's not my fault!
I'm just the cake!
You fake your vows, I just get baked!
You lose your mind, I lose a tier
Then someone dives in with a cheer!

Don't blame the frosting for your fate
I just stood there. Looked... 
Great

He wore a suit like it owed him cash
She wore white like a powder stash
The flowers died before the vows
The band played slow, the sky played loud

The priest forgot the final line
The ring went on like a warning sign
They posed beside me, full of grace
But I could see it in her face

They said "forever," but I smelled fear
The kind you frost with souvenir
You want a symbol? Fine, I'm tall
But don't blame me when you lose it all!

It’s not my fault!
I didn’t break!
You threw your love into a lake
You kissed too fast, you drank too slow
You planned a dream you didn't know

Don't blame the icing when you fall
I just stood there. That's all

And then
That guy
No name. No tie
Just heat and bourbon in his eyes
He leapt
Like sugar held salvation...
And landed face-first in damnation...

In me!

It's not my fault!
I didn't ask to be your throne!
You wanted myth, I gave you scone
You built it all, then burned it down
And I'm the one who wears the crown?

I never said "forevermore"
I just said "dessert's by the door"

I was delicious
And that... 
Should've been enough

It's Not My Fault

Find more like this below.
https://open.spotify.com/artist/0MdXpBjjp7ztNbcaGeCPNv
https://www.youtube.com/@GreyReprieve

Siren of Sodom

Echoes Beneath the Surface is a moody, undercurrent track from the Mystic Flora collection, part of my body of work designed for film, TV, and media licensing. Ideal for scenes creating suspended ambiguity, subtle tension, or a sense of hidden depths. Features evolving pads, low piano, sub bass, and layered effects, crafting an immersive and emotionally resonant soundscape that draws the listener in.

Echoes Beneath the Surface (60s) - Mystic Flora | Music for Licensing

Hi, Please read my bio! New piece I made - any comments, feedback want to discuss anything at all - collaboration etc always love to connect with new artists... This song is dedicated to the most beautiful person in my life.

Shortly Streaming on Spotify & Apple Music - Please subscribe!
music.apple.com/us/artist/trial-error/669928992
open.spotify.com/artist/0048EF6bNvCLUL7GmO2N3w

Thank you so much for listening and have a great day!

Ilhams Song

Lavender Nebula

I got a baby's bassinet and a clarinet
Don't know that it still plays
This exercise bike was my ex-wife's
My liquidation sale

You could probably use this fine pair of shoes
Barely been out on the trail
An assortment of Tupperware
A kick drum and snare
My liquidation sale

The stuff of my life thoughtfully priced
Displayed on my front lawn
Soon enough all of this stuff
Gonna be gone, gone, gone

That trinket in your hand's very special my friend
But I'm gonna make you a deal
Was from my sweet daughter Jane before we become estranged
My liquidation sale

Name your price, let me know, it all has to go
Down to the loose screws, bolts, nuts, and nails
My lease has expired now I'm nothing but tired
My liquidation sale

The stuff of my life thoughtfully priced
Displayed on my front lawn
Soon enough all of this stuff 
Gonna be gone, gone, gone

These things that you see once were special to me
This ring from a love since passed away
Ashes to ashes, dust to dust
Everything goes like it must
My liquidation sale

My Liquidation Sale

Hanging out in the cloud forests of the Sierra Juárez mountains in Oaxaca, I’m tapping into the sounds of the universe like a mushroom-drunk nahual, reaching into the heart of nature to grasp at the mysteries of existence.

You’ll hear influences from deep time and across as many cultures as I can get my hands on. I get obsessed, man. Seriously, everything else melts away around me. I can spend days absorbed in an idea, like that stone statue guy—but with a stone guitar instead.

My approach to music? About as unpredictable as my ability to remember where I last saw my passport (pretty crucial when you live abroad all the time, right?). My unique way of processing the world often leads to an avant-garde approach to life. And yeah, maybe there’s been a mushroom-induced revelation or two along the way, but who’s counting? I don’t need a million-dollar studio—just a good instrument, a decent interface, a computer, and some monitors that hopefully survive my absent-minded chaos.

I’m a multi-instrumentalist who loves complexity, especially when it sneaks up on you through unexpected rhythms or harmonies from the far corners of the globe. From Carnatic ragas to garage rock grooves—why not just mix every cool sound and see what happens? Maybe I’ll start with a harmonic progression from Bach’s Goldberg Variations and slap it into a Hindustani 7/4 thaal (that’s rhythm, if you’re wondering). It’s a bit technical but, trust me, as cool as—well, let’s just say it’s the kind of vibe that might inspire a dream-like hallucination about nailing the perfect groove. (Music available for film, TV, and media licensing.)

Yeah, I am a Ph.D. trained evolutionary biologist, and... that sounds impressive until you find out I bailed on it the second I landed a good job. I was bored out of my mind. People look at me like a guy who won the lottery and then spent it all on the greatest collection of rare video games (I mean, I’m not that bad, right?). But switching from science back to music wasn’t just quitting—it was finally tuning into something deeper. Music and science might seem like distant cousins, but to me, they’re intertwined—both ways to unlock the secrets of the universe.

Now, I live in Capulálpam De Méndez, a mystical town in the Oaxacan mountains. The ancient Zapotec culture runs deep here, and creativity flows as freely as the mezcal at the fiestas (and trust me, there are plenty of fiestas).

Art is for everyone, and I’m always pushing to create something that connects—whether it’s a complex harmonic structure or just the right amount of groove to make you forget your troubles (or your keys, in my case).

So if you’re into music that teeters on the edge of chaos but mostly lands right where it needs to be—well, welcome. Just don’t expect me to remember how I got here, or where I left my bag. Seriously, my passport might’ve been in there… Was it the tuk-tuk? (sounds like a joke right... Err.. its not....)


--------------
Relajándome en los bosques nublados de la Sierra Juárez en Oaxaca, estoy sintonizando los sonidos del universo como un nahual borracho de hongos, llegando al corazón de la naturaleza para intentar comprender los misterios de la existencia.

Escucharás influencias de tiempos profundos y de tantas culturas como pueda explorar. Me obsesiono, hermano. En serio, todo lo demás desaparece a mi alrededor. Puedo pasar días absorbido en una idea, como ese tipo de las estatuas de piedra—pero con una guitarra de piedra en su lugar.

¿Mi enfoque hacia la música? Tan impredecible como mi habilidad para recordar dónde dejé mi pasaporte (bastante crucial cuando vives en el extranjero todo el tiempo, ¿verdad?). Mi forma única de procesar el mundo a menudo me lleva a un enfoque vanguardista de la vida. Y sí, tal vez haya habido una o dos revelaciones inducidas por hongos en el camino, pero ¿quién está contando? No necesito un estudio de millones de dólares—solo un buen instrumento, una interfaz decente, una computadora y unos monitores que, con suerte, sobrevivan a mi caos despistado.

Soy un multiinstrumentista que ama la complejidad, especialmente cuando te sorprende con ritmos o armonías inesperadas de los rincones más lejanos del mundo. Desde ragas carnáticas hasta los grooves del garage rock—¿por qué no mezclar todos los sonidos geniales y ver qué pasa? Quizás empiece con una progresión armónica de las Variaciones Goldberg de Bach y la meta en un thaal hindú de 7/4 (es decir, un ritmo, por si te lo preguntas). Es un poco técnico, pero créeme, es tan genial como—bueno, digamos que es del tipo de vibras que podrían inspirar una alucinación soñadora sobre encontrar el groove perfecto. (Música disponible para licenciamiento en cine, TV y medios.)

Sí, tengo un doctorado en biología evolutiva, y eso suena impresionante hasta que descubres que lo dejé en cuanto conseguí un buen trabajo. Estaba aburrido como una ostra. La gente me mira como a un tipo que ganó la lotería y luego lo gastó todo en Beanie Babies (no soy tan malo, ¿verdad?). Pero pasar de la ciencia de nuevo a la música no fue simplemente abandonar—fue finalmente sintonizar con algo más profundo. La música y la ciencia pueden parecer primos lejanos, pero para mí, están entrelazados—ambas son formas de desentrañar los secretos del universo.

Ahora vivo en Capulálpam De Méndez, un pueblo místico en las montañas de Oaxaca. La antigua cultura zapoteca corre profundo aquí, y la creatividad fluye tan libremente como el mezcal en las fiestas (y créeme, hay muchas fiestas).

El arte es para todos, y siempre busco crear algo que conecte—ya sea una estructura armónica compleja o solo la cantidad justa de groove para hacerte olvidar tus problemas (o tus llaves, en mi caso).

Así que si te gusta la música que oscila en el borde del caos pero que la mayoría de las veces aterriza justo donde debe estar—bienvenido. Solo no esperes que recuerde cómo llegué aquí, o dónde dejé mi bolsa. En serio, creo que mi pasaporte estaba allí... ¿Fue en el tuk-tuk? (suena como una broma, pero... ehh, no lo es...).

Echoes Beneath the Surface (60s) - Mystic Flora | Music for Licensing

Damon Peterson

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