Just as some of the best and most unique experiences happen when you go off grid, as it were, where the generic road runs out and turns to unexplored creativity, when art runs out of rules to follow; so music often only truly comes to life when you run out of labels to easily capture its essence. The music found on Flow might in part be ambient, neo-classical, progressive, chilled cinematic sound score, post-rock, post-jazz, post-everything but no one term can sum up more than a fraction of its beauty, so at that point you might as well stop trying.
Even terms like songs or tracks seems too inappropriate words, for what Flow do is create cinematic scores for films which haven’t even been made yet, but which just, through their sonic grace, conjure a thousand images. Images of wind-swept vistas, dream-like worlds, night time city streets, ancient landscapes and far flung regions of space. It is chamber-pop, of the most delicate sort, and although they describe themselves as “new age” this is also from a very old age, the trumpet which provides many of the haunting melodies linking them back to a modern take on a renaissance sound. Better to call it timeless and accept that like all the best music in such territory it contains elements from the length and breadth of human creativity.
Free Ascent sounds like what perhaps the soundtrack to Blade Runner would have sounded like if Vangelis had taken a more pastoral route, For Rosita and Giovanni takes us to more Mediterranean climes and Waters Gather drips with drama and gentle majesty. It’s a graceful album, a subtle album, a clever album, one concerned with the simple task of creating intricacy and beauty, a task it accomplishes effortlessly and completely.