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.
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bitter sweet solemn whilst graced and adored in a classicist crafting, amid the hurly burly madness of pop, silently withdrawn in a quiet place shivered and shy sits the hidden lair of Antonymes.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.
A meditative ambiance and contemporary classical music dominated by piano and strings, and a perfectly structured sequence of the individual pieces provide an uplifting listening experience, punctuated windplay sequences From the conventional jazz section and the vocal parts of the singing artists Joanna Swan, Martine Bijn and Jan Van den Broeke intensify the melancholy basic mood and the overall impression of depth relaxation. The chamber-orchestral character of the production dominates far more than the electronic additions, but the latter do not sound in any sequence superfluous or even disturbing
I wouldn’t be surprised to find Hazeldine’s compositions appearing in the credits of some upcoming televised series, as the restrain perceived through his minimalism can easily fit within the foreground (and the background) of a scene. The spotlighted piano tells a wistful tale, but without the darker shadows which often appear within the noir-fi style of the genre. Instead the music is pensive, elegant and grand, striking all the right chords this morning, as the clouds are slowly replaced by the sun.