In this period of life, the exigency of not thinking instigates the filling of hard disks and portable players with the vastest possible quantity and range of musical genres – including stuff to which I hadn’t paid a iota of attention before – to be mainly played in random mode. This process has caused yours truly to increase his level of open-mindedness towards certain kinds of sonic eclecticism, not necessarily bottomless in terms of artistic meaningfulness but still good enough to elicit a few degrees of concern. Fluid To The Influence belongs to this category. Chris Abrahams assembled eight tracks – reportedly with diverse chunks from various phases of his creative course – that share a logic of versatile experimentalism made of heterodox concomitances and melodic deliberateness.
Thus we find ourselves projected in entirely different sound worlds as the pieces come and go. The proximity of familiar echoes to relative dissonance represents the core of the matter. In “Trumpets Of Bindweed”, pseudo-minimalism à la Terry Riley is dressed with calliope-like timbres, whereas “Clung Eloquent” recalls a less romantic Hans-Joachim Roedelius. At the beginning, “The Stones Continued Intermittently” suggests Pink Floyd with road workers in the background, but then the piece ends with a rarefied piano reflection. Everywhere you go the music flows nicely, no complications just for the sake of it. This proves Abrahams’ fundamental honesty in relation to how this project was conceived. On the other hand, we never experienced the type of revelation deriving from a combination of sounds capable of producing a quintessential regeneration. It’s an enjoyable listen, though: variously shaped acoustics from a musician that definitely can’t be listed in the ranks of unprincipled latecomers.