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I am sure that when I first read about blueCubism I read about the theme behind it. But there is little detail on the CD itself and I can't remember the idea. Though the cube and bubble and blue references seem to come up through all the track titles. Whatever the theme blueCubism released by Digital Narcis collects minimalist and experimental musicians from their native Japan and the rest of the world.

static waves wash through the intro of Blue Code by Terre Thaemlitz. Gathering into a rapid bleeping loop, becoming blunt and disruptive. Gentle washes play momentarily, giving way to a static wave and a pinging bass sound. Progression brings the expansion of tones moving through drones and washes. The second track Rain is by Toru Yamanaka of Dumb Type and Koji Marutani who is involved with the label Digital Narcis. The track starts with a regular clicking - shifting from ear to ear - with momentary sighs of bass melody. Other similarly minimal elements are added, but the core sounds remain in focus. Signals and blips keeping up variation while the shifting clicks engage your concentration. Towards 3 minutes the blip stream accelerates and consumes, the other elements becoming a smooth and bubbling focus.

Bubwraout seems to start hesitantly, Pita offering a pausing sigh of suggestion. A mild motion punctuated by a mild click, though mild agitation can be heard momentarily. Distortion and eruptions start to come up in the mix over a bubbling and consistent passage. On this listen Bubwraout does little for me, though I noted on a previous listen that it was okay. A slightly piercing pulse pattern mixes with a humming "on"-ness as we continue with *0/Kim's Territory² Layer. A molecular rumble gives subliminal suggestion of rhythm to the circuit of connect motions. the rotation of a fan can be heard or perhaps the chugging of a toy train. Signal oscillates through +/-, a calmly rapid pulse thrumming, over a more subtle bass hum.

A deep fluid sound lurks within the click based rustling of the Bubblex Simplex of Robert Henke. These elements mixing together in kinetic compliment. Bubblex Simplex is the sound of constant energy, perhaps the rapid oxygenation of powdered metal. Flaring and crackling in a startling manner, but on a small scale. The compilation as a whole was produced by Kim Cascone, with Kim's contribution being the Herniated mix of Cube Quadratische. Which sighs into openness in a windy manner, punctuated by subtle blips. Sheer and straight-line bleeps simulate metallic solids in their motion - shiny and tensile. With a bubbling pulse gentle within the greater currents. While there is a minute detail evident in the sound here it seems to work as a casual whole - creating an easy ambiance. Though the increasing digital signalling would try and make you think otherwise.

V/VM start their 3 studies into the relationship of air and dust within a mainframe environment (stranger simulation) on a couple of layers - a dull, consistent rumble beneath a higher, slight particulate signal. After about 1.30 there is a pulsing chime, sounding like the hour on a clock. This is a more solid and warm sound, though it does not dominate. We continue in the more minimal vein: a slight drone, mild click and background static. The body of 3 Studies is a minimal sound, as the title suggests "of air and dust", in stark contrast to the Fat Cat track I've also just reviewed. After 9 minutes there is a tonal shift, which is noticeable, though barely in descriptive terms. Ultra Brite by Testu Inoeu is a study in glitchy bleepyness, electronic signal mixing with blurping game sounds. Steady clicking plays with interruptive glitching and a warm signal that forms bass pulses. Ultra Brite seems to be in constant motion threatening incoherence and an easy chaos. All of which holds a certain charm and attraction.

Bubblewarp 13.66mB pulses steadily, Taylor Deupree offering a consistent and rapid sound. A higher signal is added, then another - these two lines seeming to Dopple with the pulsing. In some ways this is forceful, in others it possesses a certain meditative regularity. Other sounds add, but the pulse remains constant and focussed. The tenth track is a layered pulsation of humming blips which is Child's View Mix by Nobukaza Takemura of Child's View. The impression is of activity electrical signal forming a rhythm, while another level seems to provide a chiming scale. With a couple of minutes this shifts, becoming a tighter focus, then moves again. From which point it seems to search for that constancy it once had, playing with variations then casting them aside. Which increases the sense of motion and activity, each variation a different suggestion momentarily close then way off.

Quest's Blue(s)Cube is a hard signal, possessed of a certain ferocity. Within that we can hear a regularity in a 0/1 click loop. By 1 minute this is stripped to just a mild tapping, a certain pitter-patter. A stroking fluid motion and connection can be heard to rise in the background. Listening to something like this I become increasingly aware of the derivation of the genre of "micro" sound, something I am increasingly exploring. The sound of 4.6 by John Hudak starts mildly, with a couple of closely spaced droning layers. Decent enough, but becomes a little non-descript as it is out of context. ChromeBlue by Bochum Welt has a similarity to 4.6 but seems to fit more within the context of blueCubism with its more active drone to pulse motions.

While listening to blueCubism I am acutely aware that my choices diverge from those of the last time I listened to it. Which suggests that it is a compilation in which different tracks will compliment different moods on each listen. My main picks from this listen are those by Yamanaka/Marutani, Tetsu Inoue, Taylor Deupree and Nobukaza Takemura.

RVWR: PTR
June 2000