by Markus Mehr
(For Now We See) Through A Glass Dimly
The Orpheus Pavement
by Chloe March
Latest News & Features
The music of Antonymes (Ian M. Hazeldine) has always reverberated with an inherent sadness, graced by a tinge of holiness. On his newest effort, this yearning tone is reflected by the title, a reference to the 13th Chapter of Corinthians: for now we see through a glass dimly, but then face to face. The passage refers to the sea of the unknown: questions unanswered, secrets unrevealed. An alternate translation reads a mirror darkly, referring to the imperfect, oxidized images of ancient glass. In short: if we cannot see ourselves clearly, how shall we manage to grasp the eternal?
What’s going on inside all those disc drives, cellphones and computers? We’ve grown accustomed to obvious sounds: the whirr of a burning disc, the start-ups and shut-downs, the overheating hum of internal fans. But what about all the data stored, trashed and seemingly lost? Detectives are able to recover data from hard drives, and even the Internet seems to keep a copy, as those who have tried to delete incriminating emails have discovered. Digital footprints are nearly impervious to destruction, as Markus Mehr demonstrates via sharp amplification. His induction microphones ferret out the hidden and over-written, exposing – and perhaps indicting – humanity’s newest enduring mark.
Complex, refine, and devistatingly beautiful. Ian M Hazeldine returns to his earnest post (with the help of some friends) to deliver his most emotionally rewarding work yet…even if it’s unequivocally sad.
Trying to describe the album in all its apparently glory is a truly impossible feat, and to be honest, I’m not ever going to really attempt it. Instead, I’m simply going to strongly urge everyone who ever stumbles upon the work on Antonymes to dive headfirst into his work, because with ‘(For Now We See) Through A Glass Dimly’ there is no way you could ever be disappointed. 9/10
The fourth record under the alias Antonymes , Ian M. Hazeldine opens its exciting environment to a neo-classicism orchestral sharing dimension that belies the cliché solitaire similar artistic proposals.