Antonymes “(For Now We See) Through A Glass Dimly” Reviewed at Il Cartello

[Translated via Google. Read the original here.]

“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.

A title with clear reference to the famous stretch of the First Letter of Paul to the Corinthians, chapter 13, verse 12 ( “Now we see through a glass, darkly; then face to face”), who also inspired the cinematic masterpiece Bergman’s Through a glass Darkly. The artwork is the other piece of the puzzle that goes to indicate the meaning of the work: a piano which also has the task of representing the music, an empty chair, a faint light or shadow. British artist seems to question the existential situation, the discomfort that brings life in its deeper meaning, impossibility to communicate: art becomes the only way to alienate to try to understand certain dynamics.

The musical construction is almost perfect and compared to the past seems to leave less space minimalist approach in favor of a texture based on growth and on the small nuances that fluctuate in narrow spaces. Essential contributions of James Banbury ( The Auteurs ) Christoph Berg (Field Rotation) Stefano Guzzetti (who also worked on the mix with Paul Humphreys), Joanna Swan (Ilya) and writer Paul Morley. Burning by the “master” Rafael Anton Irisarri .

The link with the past can be heard in songs like Delicate Power, Elegi (iv) and A Sadder Than Light Waning Moon with piano notes that fit into the flicker of overhead line as a manifestation of the uncertain path to knowledge. Opening with The Lure of The Land and the title track brings us to an environmental tension that is the semi-symphonic development to which we referred before, between control and care of its “explosion.” Elegy (ii) also makes the ‘vocal aspect that strongly increases the emotional part that has increased in the spoken-word minimal carpet of Little Emblems of Eternity. Sixteen Fifteen ZeroSix and piano and strings by overlapping Towards Tragedy and Dissolution combine the best the two souls so far described.

The ten compositions show how Antonymes is a musician who not only exceeds the one-dimensional concept of the music but also exceeds that multi-dimensional art itself: his music becomes a form of collective contemporary analysis and at the same time intimate. They are not offered solutions or paths but is simply handed the musical instrument as a means of observation with a strong emotional impact. The proof of the greatness of the artist which probably made his best work in communication and expression level.”

Il Cartello

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