Eat Your Friends
by Hidden Shoal
Chansons de Parade
by Joe Sampson
What’s The Story With This Hole?
by Craig Hallsworth
by Todd Tobias
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Antonymes makes its big return with what is probably his best work. Intimate and introspective work.
Antonymes (Ian M Hazeldine) returns and does so with a monumental album. Three years from There Can Be No True Beauty Without Decay with which the composer questioned on the subject of beauty, a few days ago he released his fourth album (For Now We See) Through A Glass Dimly.
With its murmured tonalities and spectral yearns, there’s a ghostly beauty attaching to the faintly forlorn ethereal dreamscape that is ‘into the sparks’, its weightlessness, pause and poise bathing all in a serene enchantment as though a love noted visitation all framed upon a cavernous haloing that arcs and sighs in demurring formations all the time housed in an orbiting hermetically sealed shelling. It marks a twilight happening perhaps rather more a shared moment maybe a journey embarked upon by a chance meeting between Kramies and Alma Forrer, he providing the delicately drawn sonic ghost lights, she the tenderly fragile and trembling hymnal phrasing. However, for us it’s the acoustic version of the same track that ushered itself into our affections, where the celestial unworldliness of the ‘full version’ is somewhat lassoed and drawn earthbound whereupon the love note coding succulently shimmer with a mystical folk beguilement that hints of a thoughtful lost in the moment Linda Perhacs.
The ability to combine different styles and musical languages is inherent in personal and artistic biography of Ryan E. Weber, whose curriculum appear collaborations with bands and artists such as Shearwater, Owen, Decibully and Dirty Projectors, conducted from various corners of the world. For some time Weber is, metaphorically, “back home” in its Michigan and driving a solo project, REW<<, in which condensation precisely his many experiences and such a versatile personality as elusive frameworks unique.
Four long sections separated by three interludes are the result of the search for Markus Mehr around the theme of digital addiction. Not without a certain taste for paradox, to achieve his sixth album “Re-Directed” the German artist has employed a large catalog of sounds derived from servers, hard drives and mobile phones, capturing pulses, noise and vibrations often on the border of ‘inaudible.
The currents of static electricity and concrete dissonances prominent captured by Mehr microphones have thus become part of an audiovisual performance created together with Stefanie Sixt, whose alienating sound component is very noisy complexity of the digital age.
Beautifully elegant, steeled in mournful bitter sweet solemn whilst graced and adored in a classicist crafting, amid the hurly burly madness of pop, silently withdrawn in a quiet place shivered and shy sits the hidden lair of Antonymes. A new album about to break cover on the ever adored hidden shoal imprint by the name ‘(for now we see) through a glass dimly’ from which, sent ahead on scouting duties, appears the mournfully touched ‘towards tragedy and dissolution’. Aided and assisted by various members of the Auteurs and Field Rotation, this heart heavy tear stained mosaic serenades in solemn reflection, rendered frozen between hope and regret, above the maudlin and melancholic crawl of the shyly trembled key braids hover fretful strings in sympathetic fear and caution, the effect so tenderly bruised and vulnerable you feel the urge to rest a supportive arm around its fragile and failing shoulder.
Are twelve minutes sufficient for a songwriter to fully deploy his own personality. Twelve minutes are enough to be enchanted in front of the simple naturalness and delicate understatement of his melodies. The duration is one of the five songs Ep “Songs Of Delay” and the singer in question is called Joe Sampson and comes from Denver, where he was honored as songrwriter of the year in 2008 and later collaborated with musicians such as Nathaniel Rateliff and Esme Patterson.