Not very interested in highs or lows, but fascinated by the spectacle of noises meeting other noises.
In his notes, Jerry Leake suggests that he would like to treat music as the Cubists treated painting: "simultaneously opening the object" -- in this case "sound and time" -- "in all its sides in relation to the observer." To this end he will use "Combinations of natural elements (wood, metal, skin); music tradition (African, Indian, Middle Eastern); metric structures and unusual subdivisions." A percussion man, he organises Cubist around percussion. Xylophones and drums react against one another while a saxophone or an electric guitar calms the melee. In "Chrysalis" the tabla tries to dance forward against a phalanx of competitors pushing in the opposite direction. "Nu Atasia" incorporates a spectrum of percussion from the gloom-gloom of a long, low, hollow wooden xylophone to a bright little bell that goes ting. There's none of the painter-Cubists' startling jaggedness here: the music is a soundscape that moves at the speed of a walk. The listener is asked to contemplate its effects, not feel their expectations tweaked by its daring. A tune does not have the immediacy of a seen object: the deconstruction must be tackled in increments, which means it can seem repetitive, raking over similar ground with minor changes to "[open] the object." Cubist occupies a middle ground, not very interested in highs or lows, but fascinated by the spectacle of noises meeting other noises -- a kaleidoscope in neutral colours.