(For Now We See) Through A Glass Dimly

by Antonymes

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about

“An exceptionally beautiful record.”
Mary Anne Hobbs (BBC Radio 6 Music)

“There is no way you could ever be disappointed.”
9/10 - Anthem

"A reflection of the human psyche and it's contemplation of all the big themes. Truly remarkable ."
Adam Walton (BBC Radio Wales)

イギリス人の作曲家のAntonymesこと、Ian M. Hazeldineの新作、『Through A Glass Dimly』はピアノや弦楽器、声を使い、
暖かで、壮麗な気品を伴った魂の残響とも言うべき美しいアルバムとなった。幽玄な世界を描写する10曲の魔法のような楽曲は感性を揺さぶる
シェイクスピアやジェイムズ・ジョイスなどイギリス文学の伝統を思わせます。最小限の音を使ったAntonymesのメランコリックなピアノのプレイは繊細な
物語を一つずつ丁寧に織り込んでいくようです。Antonymes本人は『巧妙なミニマリズムをプレイする事は、人生の肯定するための何か、例えば、
超越的で、審美的な憂鬱をもたらす。』とこの作品について語っています。数学的なまでに美しい音の配列を伴った、エレガントで奇跡的なアルバムがここに登場した。


While Ian M. Hazeldine’s discography as Antonymes has always been as far-reaching as it is immediately affecting, there’s a recognisable progression on (For Now We See) Through A Glass Dimly. These 10 pieces have an emotional potency and compositional dexterity that surpasses the body of work that precedes them, drawing you into their evocative world and demanding engagement. Antonymes’ deft minimalism is at play, transcending a superficially melancholy aesthetic to create something truly life-affirming. Its restraint brings to mind the famous quotation from Mark Hollis of seminal band Talk Talk: “Before you play two notes learn how to play one note – and don’t play one note unless you’ve got a reason to play it.” Including contributions from Christoph Berg (Field Rotation), composer Stefano Guzzetti, James Banbury (The Auteurs), Joanna Swan (Ilya) and writer Paul Morley, the album’s depth of sound is awe-inspiring.
The sonically minimal yet emotionally formidable ‘Towards Tragedy and Dissolution’ features the stirring string arrangements of James Banbury (Bloc Party, Editors and U2), which engage in reflective conversation with Hazeldine’s plaintive piano. Second single ‘Delicate Power’ gently flowers from its hushed origins into a stately piece akin to early Deaf Center. On ‘Elegy (ii)’, the piano gives way to incisive strings and the elegantly dexterous vocals of Joanna Swan (Ilya). ‘Little Emblems of Eternity’ sets the words of British writer Paul Morley, hauntingly intoned by Jan van den Broeke, against an atmospheric backdrop of echoing piano figures. And the title track swells into a magisterial call to arms, ending the album on a suitably triumphant note.
The album was mixed by Stefano Guzzetti and Paul Humphreys (OMD), with mastering by Rafael Anton Irisarri (The Sight Below).





Track List

1 The Lure Of The Land
2 Elegy (ii)
3 Towards Tragedy And Dissolution
4 Delicate Power
5 Elegy (iv)
6 Fatal Ambition
7 A Sadder Light Than Waning Moon
8 Sixteen Zero Six Fifteen
9 Little Emblems Of Eternity
10 Through A Glass Dimly


profile Antonymes

The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations

Antonymesこと、Ian M. Hazeldineはイギリス人の作曲家であり、音楽家。これまでCathedral Transmissions、hibernate、Hidden Shoal Recordingsといったレーベルからリリースを重ねてきた。Antonymesの音楽はアンビエントミュージックの調整と消失、そしてミニマリズムへの耐久や固執といった要素から成り立っています。あるいはポストクラジカルとアンビエントの狭間、現代音楽のジャンルとしてのミニマリズムと言ってもいいかもしれません。例えれるなら、ハロルド・バットの深淵なリリカリズム、モートン・フェルドマンの静けさを合わせ持つ音楽性。
また、彼の音楽は明確な音楽的な技術に裏打ちされつつ、同じような場所に留まらず、自由に、まるで幽霊のような印象で立ち表れます。

credits

released November 9, 2016

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White Paddy Mountain 東京都, Japan

white paddy mountain is a small record label based in Japan.
Chihei Hatakeyama is A Sound Artist And Musician Living On The Outskirts Of Tokyo.
chihei-mastering.com

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