One does not have to be a flute player or have any knowledge of the instrument in order to understand that Robert Dick is a magician when it comes to the creation of new sounds, as he masterfully transforms the flute into a synthesis capable of chords, creating an illusion that the flute is often accompanied by another instrument. His ability to hold a note and play a scale over it at the same time creates vibrations that transcend through the theatre and the dimensions of space and seem almost alien when taking into account the fact that they are all made by the flute.
The music itself seems to be heavily influenced by Asian instrumentation, with the sound of all compositions distantly echoing the more traditional melodies of the Japanese “kokyo”, as well as sounds that are more commonly found in nature, an element which is mostly illustrated in a piece that Dick described as “Africa meeting the West”.
In addition to the high level of technical mastery that the artist has achieved, his compositions can also be commonly identified by their rapid yet smooth transitions between moods, as he takes something soft and fragile and transforms it into a sporadic display of madness, which despite the fact that some notes seem to cut right through the ears, still sounds as music which deserves to be admired. The liquid transparencies between the emotions of the chords are also clearly illustrated when Dick performs “air is the heaviest metal”, combining his own style of playing with a new, more modern sound, giving birth to music that is truly unique for the variation of the sound that it unites within itself.
Overall I would say that any flautist or a fan of the flute will be amazed by what Robert Dick has done to the instrument since the technical skills and the level of transformation are bound to impress many listeners, even those who will not be pleased with such new and radical sounds.