I Can't Believe It Isn't Music! reflects a growing trend toward diversity in Christopher's music. Unlike music of an opposing extreme, music that is guided by the motion toward a "pure form", I Can't Believe It Isn't Music! strives to admit as many musical worlds into a single time space as Christopher's concentration allows. Though I Can't Believe It Isn't Music! can be perceived as balkanized, violent and partitioned much like the cultural landscape of Christopher's childhood in The City of Angels, it is also possible to perceive it as a rich interaction of Christopher's experiential world noise which strives not to let totalitarian singularity dominate its form.