bloom

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 6: L'Avant Et L'Arrière (Le Cube Dans Mon Rêve, 2025)

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory, invited to create Onsen (hot spring) music commemorating the city’s 100th anniversary through sound. Known for his Lost Japan (Shitsu-nihon) works, which weave together vanished eras with the ambient residue of the past, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched near the bay.

Over two weeks, Meitei listened to steam, stone, and history. The resulting work, Sen’nyū, traces the spirit of onsen culture. Like water seeking its path, the music unfolded with natural inevitability, shaped by Meitei’s synesthetic sensibility and deep reverence for place. Equipped with a microphone, he ventured into Beppu’s famed sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou — capturing bubbling earth, hissing vents, wind over bamboo, and the voices of regular visitors. These field recordings became the bones of the composition, an attempt to sonify even the rising mist and subtle temperature shifts felt on the skin.

Sen’nyū unfolds as a single, continuous piece. Meitei’s score moves like fog through sulfur and stone, traversing the veiled madness of Bouzu Jigoku, the spectral hum of Yamada Bessou’s inner bath, and the voices and atmosphere of Takegawara Onsen. At its heart is a gesture of quiet reverence — for water’s patience, for the land’s memory, and for the hands that have bathed here across generations.

Meitei has always expressed his own views on things and events that are self-evident to the Japanese people but are now perceived as subtle impressions. On this occasion, however, he does not create music based on his own unique themes of Japan. Instead, he launches music into the world that has been created in actual places of Japan, music that can be felt with the hands.

During the project, Meitei also conceived a two-day public sound installation at Takegawara Onsen, culminating in a live performance on the final day. Bathers immersed themselves in hot spring water while listening to the piece through speakers embedded inside the bathhouse — a ritual fusion of body, place, and sound.

The album marks Meitei’s first work centered entirely on onsen, and also introduces a new phase of his Lost Japan project under the title “失日本百景” (One Hundred Lost Views of Japan) — a series focused on existing places of longing, still breathing within contemporary Japan. Alongside the album, Meitei will release his first-ever photo book, a visual documentation of this journey. A new layer is added to the world he has built through sound alone until now.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

The album will be released on 25 July 2025 on 180g LP and CD, with mastering by Stephan Mathieu.


Sen'nyū - Yon-no-yu

maiden forever

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Original Track by Senmove:::
https://soundcloud.com/senmove/84gfd

Photo by Ivons

SenSen - 1984

Stereo hydrophone recording inside a glacier crevasse with exiting air bubbles. Recorded on the Morteratsch Glacier, July 19, 2025.

Morteratsch Glacier, July 2025

Soil #3

“inside” invites the listener to turn inward, tracing the subtle landscapes of thought and memory.

Through delicate textures and introspective tones, it offers a companion for moments of solitude, where silence and sound merge to illuminate the inner self.

generated by Nicolie Binara
produce, artwork and mastered by Setsuya KUROTAKI


All tracks copyright protected. All rights reserved.
℗ / © 2025 schön rec. under exclusive license to NOiR Inc.

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