[Reviewed by: Iaha Crax]
At 2 years distance from ‘The Mirror Reversed Part I’, we are given the second part of this diptych, again quite a fulminant exercise in virtuosity in the darkambient field. For the Canadian acoustic sculptor possesses an elaborate compositional technique, by which he apparently displays minimal tones and rhythms helping him to render the atmosphere with great care for surfaces and shapes.
‘The Mirror Reversed II’ is a one-piece record, an accomplished picture of a thick flooding atmosphere that aims to make resound the abysses of the human mind. Although at the beginning the musical line timidly finds its way and seems as if it would be likely to stick to a minimal shape, things stand completely different: once this illusion that you are in control of what you hear has passed, the textures begin to unwrap and erupt upon the senses. Bristling with a surrealistic chameleonic energy, the music of Funerary Call imprints on the mind like a sort of invasive method that is being used to realize a cartography of the unconscious.
What makes the particular style of Funerary Call spectacular is how the sounds are treated in terms of volumes and shapes; the composition has this wonderful dynamic and corporeality that allows one to actually let it in. There is a sweeping soundness of an opulent aspect, yet maintaining the balance of volumes in a harmonious contrast with the sinister, obsessed musicality.
The album, issued by Cyclic Law, is not a continuous flow of music, but splinted in several chapters, each with a particular musical theme, built upon a certain vision or idea. ‘The Mirror Reversed II’ is offered to us in a 4-panel digisleeve, with artwork by Dehn Sora of Treha Sektori fame.