“Eat Your Friends” Compilation Reviewed at DOA

“Over almost a decade, Hidden Shoal records developed a reputation as a consistently innovative and experimental music label, giving to us music of remarkable qualities whether it was the instrumental excursions of Gilded, the blissed-out indie of My Majestic Star, the electronica of Marcus Mehr, the alt.folk stylings of Kramies – the HSR list of significant talents was a lengthy one. I say was, as in 2014 or thereabouts, the Hidden Shoal label underwent a reorganisation of sorts, and it began to seem that one of the more influential Australian record labels of the recent past was itself going into hiding. Perhaps so, although only to return refreshed, renewed, invigorated and with its varying artistic visions intact – the Eat Your Friends compilation proves that the Hidden Shoal label is properly with us again. One thing I’ve found when reviewing compilations is that not infrequently, when I put them into my music players, the tracks separate instead of remaining in their album folder, and that has happened with my copy of Eat Your Friends, encouraging me to view each of the tracks as a single release rather than view the album itself as a cohesive whole. Then there’s the fact that only some of its contributors are already known to me and so, ditching some of my preconceptions about what it’s going to sound like, I began listening to the 11 tracks in a random sequence, and prepared for the unexpected. Firstly, there’s singer/songwriter Erik Nilsson’s “Moksha Can Wait”, a song which electronic composer Marcus Mehr has taken and adapted to his subtly developed production sound, a track that begins almost inaudibly and builds to a staggering crescendo of soaring, roaring...

Antonymes ‘Towards Tragedy and Dissolution’ Reviewed at The Sunday Experience

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bitter sweet solemn whilst graced and adored in a classicist crafting, amid the hurly burly madness of pop, silently withdrawn in a quiet place shivered and shy sits the hidden lair of Antonymes.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.

Antonymes “(For Now We See) Through A Glass Dimly” Reviewed at Cultural Field

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

Antonymes Reviewed at The Sunday Experience

“Staying with hidden shoal a little while longer here’s two visitations by Antonymes, well sort of, first up the simply divine ‘towards tragedy and dissolution’ – a slice of impeccable Autumnal classicism cut with such tenderness it emotionally tears and stings with bitter sweet elegance – frail, fragile and poised whilst deftly stirred in a delicacy and an embrace of a forgotten songcraft. Next up Antonymes’ ‘delicate power’ this time re-aligned and re-imagined by Marconi Union who if I recall rightly we mentioned in passing several missives ago. Anyhow here they stretch out a comforting arm to somewhat cuddle out a thawing warmth to the original bringing it in from its touching isolation and tending to it an affectionate sepia glow and an adoring monochromatic musical box motif teased in genuflecting key string opines which if anything rather than dull the classicist magneticism serve to compliment it.” – The Sunday Experience Related Items:Chloe March "Starlings & Crows" Reviewed by Craig Laurance GidneyLiminal Drifter 'Choir on Mars' Reviewed at Happy MagSlow Dancing Society "The Torchlight Parade Vol. II" Reviewed at Long Live VinylKramies 'Everything The End' Reviewed at Austin Town HallMoonchy & Tobias -...

Antonymes “(For Now We See) Through A Glass Dimly” Reviewed at Headphone Commute

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.