During a brief but conclusive discussion with a friend about LEO ABRAHAMS’S biography – this was undertaken without him actually listening to ABRAHAMS’S album – he commented that he was always wary of unknown artists who receive glowing praise from more established and critically lauded musicians. My friend’s point was that it is one thing to be a fantastic session musician capable of extracting unique and interesting textures from your instrument of choice but quite another to go it alone and step up to the mark as a solo artist of note in your own right.
No less than the estimable Brian Eno – with whom ABRAHAMS has worked on both live and studio projects – has been talking up the talented guitarist. ABRAHAMS has also worked with artists as diverse as Ed Harcourt, David Holmes (appearing on the ‘Ocean’s Twelve’ soundtrack) Paul Simon, Nick Cave and even – gulp – Nik Kershaw. It’s surprising that he’s found time to produce an album of his own given his hectic schedule and indeed most of the tracks for ‘Honeytrap’ were written and mixed on his laptop aboard planes and while hanging around studios waiting for other musicians.
Which is not to say that ‘Honeytrap’ is some kind of sampling and sequencing extravaganza loaded with software effects and computer-generated noises; no, ABRAHAMS has opted for an organic sound free of such electronic clutter, opting for sounds generated by guitar, cellos, trumpets and ethnic percussion. And although these fourteen tracks are instrumentals do not be mistaken in thinking them purely ambient pieces by virtue of his association with Eno. Whilst these tracks are predominantly mellow and reflective in nature ABRAHAMS is more concerned with creating a range of atmospheres through melody rather than resorting to a freeform approach created with washes of artificial sound.
Each track on ‘Honeytrap’ is a distinctive piece of music with little or no repetition of style and arrangement. For sure ‘The Distance’, ‘Mirror Sister’ and ‘Seeing Stars’ do have a strong affinity with Eno’s work, particularly ‘Music For Films’, while the shimmering vibrato guitar work on ‘In Doubt’ is reminiscent of regular Eno cohort Daniel Lanois. But ABRAHAMS is no one trick pony: elsewhere his varied 6-string playing recalls Tom Verlaine’s ‘Warm and Cool’ (‘Slippery Jack’, ‘Footprints’), Ry Cooder’s worldly acoustic strokes (‘Kristiansand’) and more recent efforts by July Skies (‘Playground’ and ‘Honeytrap’). Even if reminded of other artists there is always plenty more within the track for it to branch out and become his own. The odd lapse into dodgy New Age territory (‘Rise’ just feels a little too comfortable and bland) is forgivable when the remaining offerings are so strong in melody and character.
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So, to return to my friend’s qualms and in response to his reservations: ABRAHAMS proves himself to be more than a skilled session player and someone capable of holding his own musically. While ‘Honeytrap’ has absolutely no connection with the hip and happening of the music industry it offers a welcome sanctuary from the saturation and monotonous rotation of the media merry-go-round. In its simple celebration of music for music’s sake it is an aural treat for those amongst you who enjoy something that has been left to your own devices to discover, to become familiar with and ultimately to cherish for its unadorned beauty.
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