Page 45 Review by Stephen
"I keep having these nightmares and I think I know why."
'Symphony' is all very sensual.
It's also more than a little sinister, evoking early on the taut tensions of sado-masochism, the sharp string bow playing across soft, bared flesh.
Precisely worded, like any musical movement it builds beautifully.
"It's my bruised ribs, struck, col legno, hit with the bow and not the hair...
"It's my welted skin, the jete strokes, where the bow bounces again and again in ricochet.
"And then as the music intensifies, sautille, tremolo, bariolage... then it is also my voice.
"And there's a pain that is beyond all imagining, beyond sanity...
"And I weep...
"Because I don't want it to end."
'Overture' has two meanings, you know.
A string quartet is invited to play blindfold at an exclusive party at a secluded mansion. There is a lot of money involved: £10,000 each for this first session. If they are pleasing, and enjoyed, they will be asked back.
The gig is brought in by Kendall, the libertine of the group: well built, well racked and well packed, first seen laid back in the arms of an older man, his lunchbox painted to be prominent.
However harmonious they may be on stage, in private Ms Ortiz at least is fractious, sneering, until she sees the colour of the money.
"Welcome. I am Meister Maranatha.
"You will play the pieces in the order selected for you. Do not improvise. Do not speak during the performance.
"You will wear the clothes we provide. You will not remove your blindfolds."
From the creator of the fiercely inventive ONE SOUL and THE PEOPLE INSIDE whose construction, specific to the medium of comics, you will never have seen the like of (no exaggeration), this is a complete change of delivery in watercolour washes reminiscent of David Mack, expressionistic flourishes which reminded me of Bill Sienkiewicz and Francis Bacon, then a raw, roaring, abrasive crescendo during which the blindfold slips and -
You might want to Google 'Maranatha'.