Anthony Reynolds and Ian M Hazeldine (Antonymes)
“Together, before it was too late, it was inevitable that there would be an intensely attentive meeting of minds and moods between Anthony Reynolds and Antonymes.
Both outsiders locked inside a dream-world of remembering, laughter and forgetting where keeping yourself to yourself perversely leads to many forms of collaboration, connection and communication.
Both in their own ways obsessed with strategically solving mysteries by never coming to a conclusion.
Both with names beginning with ‘a’, names that fuse together as elegantly as their music, their point of view, their modestly magnificent approach to glamour, and romance, and decreasing volume.
‘A’ for affinity. ‘I’ for infinity.
Together, without losing their isolation, the lost, disappearing worlds of Anthony Reynolds, a singer, clandestine author, dreamer, fan, philosopher, ex-pop star who was never a pop star... and Antonymes, a mysterious meditative ensemble of one, of no-one, both gradual specialists in serenity, from the same place, and near enough the same time.
How did they meet?
The answer is not necessarily true, and it doesn’t really matter. They met by meeting, and noticed they had something in common. They met and are due to meet, if only to open themselves up to the unknown, which in the end might be their favourite space, where they can draw breath, inside and outside each other.
Together, two soloists forming an indefinite duet, a suitably tender coupling, moving beyond themselves, they remember the proactive free-spirited voice and presence of the abstract activist, cultured writer, radical historian, spiritual investigator and contemplative conceptualist Charlotte Greig.
They become a temporary trio – hip hop loving Charlotte would love the idea of being a phantom “Feat.” - somewhere between post-folk and musique-soft, between low down and transcendent, a ghostly collective reflecting on their individual motives, their fading desires, their vocal reticence, their complicated precarious personalities.
Charlotte collaborated closely with Anthony, adding the prized element of chance, because there are certain things you can’t say on your own, before her shocking suicide, her definitive disappearance and loss of all tomorrows, in 2014, and Anthony defiantly maintained their private nervous energy, responding to a stunning infliction of loneliness, a diabolical interruption, on his song “Have You Heard From Her Lately,” a souvenir of sudden trauma, Anthonymes, a sharing of shape, filled with space, with sorrow and sense, intimately re-imagine the song’s original reason to exist on “In a Café at the End of the World,” another memento of loss.
We ask each other questions about what it is to know, love, work and play with someone, and then lose them, so that a page filled with thoughts and stresses and ideas and difficulties and magic and suggestions and self-doubt is suddenly a blank page, needing to be filled with . . . …together, something.”
Antonymes music emerges from the adjustments and erasures where music expresses nothing but itself, from the relationship
between continuity and repetition rather than of contract and interplay, from secrecy, from quietness, from pause, from thought, from emptiness, from time, from far off, from itself, from where it is set and where it is setting off to....more