[Reviewed by: Iaha Crax]
The eerie and strangely evanescent theme opening the record draws the listener into a world of shifting shades and intermingled shapes that create a tableau of intense magical realism. The music evolves from the beginning, from minimal electronics designed like an abstract painting: they fade away into vaporous dispersion just when you think the frequencies are about to take a definite shape. They grow like the roots of a tree inside one’s head, asphyxiating common optical nerves and provoking a sort of dizziness of the internal organs; thus, the atmosphere here created becomes absorbent and eventually starts to grow inside you, but from above to the bottom. If we keep in mind the arborescent developed image, this glimpsing tree begins to take roots from the head and then seems to progressively take hold of your entire body by its trunk and branches.
It is the image of the tree of life and death which in some mythological and esoteric interpretations appears reversed in correspondence with the ontological aspects of individuation: one’s persona is shaped starting with cognition. As with most of hermeneutics this same aspect is based on ambivalence, so that this same root of self-development is the source of its degradation. Seemingly such ideas are musically suggested by traces of heavy-gripping tonalities or ironic, damping off percussive poundings. One who intends detachment from the illusion of progress searches to cut off from the root the body correspondent tree.
The ambiance constructed here traces allegorically the roaming of the intellect through the corners of its own metaphoric world. The music continuously acts as a vehicle for the listener: a meditative support which has the power to provoke the emergence of different mental states, all the more confusing and irritating as the mind has to confront ever-shifting frequencies.
Whether the intention of the artist has been to depict the kabalistic aspects of the Sephirothic tree, namely the malefic mirrored Qliphotic tree, is a matter of sheer interpretation. The record’s title would infer such a parallelism, but the evocative power of the music can gather esoteric hints that are generally valid.
“The Mirror Reversed” reflects the descent of the soul in its own created abyss. In part 1 of this one-track album, the Canadian artist acting under Funerary Call has offered us a multifaceted musical depiction of such a demanding journey. And even if a reversed descent is naturally an ascension, we will further wait for the soul’s ascending in part 2.