[Translated from the <a title="SoWhat" href="https://sowhatmusica.wordpress.com/2016/05/17/antonymes-for-now-we-see-through-a-glass-dimly/" target="_blank">original Italian</a> via Google]

"Charming and with a distinctive imprint kinematic unfolds "(for now we see) through a glass dimly", fourth Antonymes hard pushing the environmental minimalism Ian M. Hazeldine towards more coordinated prone to an orchestral breath and contamination with other sounds.

The sense of melancholy desolation, which is always present in the musical and photographic production of Hazeldine, continues to be the pivot around which the story develops, featuring the usual piano plots here are completed through the use of new elements. Among the airy symphonic openings of "The lure of the land" and chamber music textures of "Towards tragedy and dissolution" enhanced by an emphasis of the sound of the strings, are declined voice grafts space according to the ethereal singing of "Elegy II" ol 'emphatic starred in "Sixteen zero six fifteen" and "Little Emblems of Eternity", but also the use of additional instruments such as the trumpet, which is combined with the elegance of the piano melodies in "Fatal ambition".

The result of this new direction, which, starting from the consolidated narrative amplifies the flow rate, is undoubtedly fascinating and track a possible and interesting evolution in the artistic development of Antonymes project."

- <a title="SoWhat" href="https://sowhatmusica.wordpress.com/2016/05/17/antonymes-for-now-we-see-through-a-glass-dimly/" target="_blank">SoWhat</a>