Hey guys, read this review... it's kinda nice...
http://www.silentscreamzine.com/ReviewShow.asp?ReviewsID=2000
There are albums that remain branded in your soul, that dig inside 'till reaching your heart, cutting, hurting, leaving scars. Those that own such an intensity (and that can communicate it so naturally and directly) are just a few: when you're lucky to find one, you treasure it. "Lights Out", second effort of Antimatter, is one of them. The album is an eight tracks tragic and painful trip, that wants to recall bitter episodes and inner torments, exciting devastating senses of guilt and lacerating endless pains. The album charms in a following of suspended harmful and pure sweetness moments. Fifty minutes of pure psychedelic dark music. Space-tempo dilatations in which the band (the inspired duet Duncan Patterson/Mick Moss) unites different atmospheres that go from the latest The Gathering (a bit all the way to conceive their music, with the female vocals of Michelle Richfield and Hayley Windsor that recall Anneke Van Giersbergen's one) and vague recalls to the seventies rock tradition (Pink Floyd and all the progressive of that period), from the most dThere are albums that remain branded in your soul, that dig inside 'till reaching your heart, cutting, hurting, leaving scars. Those that own such an intensity (and that can communicate it so naturally and directly) are just a few: when you're lucky to find one, you treasure it. "Lights Out", second effort of Antimatter, is one of them. The album is an eight tracks tragic and painful trip, that wants to recall bitter episodes and inner torments, exciting devastating senses of guilt and lacerating endless pains. The album charms in a following of suspended harmful and pure sweetness moments. Fifty minutes of pure psychedelic dark music. Space-tempo dilatations in which the band (the inspired duet Duncan Patterson/Mick Moss) unites different atmospheres that go from the latest The Gathering (a bit all the way to conceive their music, with the female vocals of Michelle Richfield and Hayley Windsor that recall Anneke Van Giersbergen's one) and vague recalls to the seventies rock tradition (Pink Floyd and all the progressive of that period), from the most dilated Cure (a step beside post rock) to a very strong trip hop inspiration 'till fingering the fields we knew in the infamous scene of Bristol ("Reality Clash" could be put in a Massive Attack album). Of the metal noise that is part of their past (early Anathema) there's nothing left, the music got calmer, relaxed, drugged of pain. The songs follow al the same structure (minimal start/ slow progression/possible electric crescendo) and in long terms can result a bit hard to digest. Luckily that does not happen. The dark and tormented worl of Antimatter enters inside easily: suffering sticks upon us, is branded on our skin, penetrates the ears like a weak but intense whisper. One risks to get out of it broken, with the tears in the eyes and a vague sense of impotence. "Lights Out" is pure emotions. Hard not to be overwhelmed.
http://www.silentscreamzine.com/ReviewShow.asp?ReviewsID=2000
There are albums that remain branded in your soul, that dig inside 'till reaching your heart, cutting, hurting, leaving scars. Those that own such an intensity (and that can communicate it so naturally and directly) are just a few: when you're lucky to find one, you treasure it. "Lights Out", second effort of Antimatter, is one of them. The album is an eight tracks tragic and painful trip, that wants to recall bitter episodes and inner torments, exciting devastating senses of guilt and lacerating endless pains. The album charms in a following of suspended harmful and pure sweetness moments. Fifty minutes of pure psychedelic dark music. Space-tempo dilatations in which the band (the inspired duet Duncan Patterson/Mick Moss) unites different atmospheres that go from the latest The Gathering (a bit all the way to conceive their music, with the female vocals of Michelle Richfield and Hayley Windsor that recall Anneke Van Giersbergen's one) and vague recalls to the seventies rock tradition (Pink Floyd and all the progressive of that period), from the most dThere are albums that remain branded in your soul, that dig inside 'till reaching your heart, cutting, hurting, leaving scars. Those that own such an intensity (and that can communicate it so naturally and directly) are just a few: when you're lucky to find one, you treasure it. "Lights Out", second effort of Antimatter, is one of them. The album is an eight tracks tragic and painful trip, that wants to recall bitter episodes and inner torments, exciting devastating senses of guilt and lacerating endless pains. The album charms in a following of suspended harmful and pure sweetness moments. Fifty minutes of pure psychedelic dark music. Space-tempo dilatations in which the band (the inspired duet Duncan Patterson/Mick Moss) unites different atmospheres that go from the latest The Gathering (a bit all the way to conceive their music, with the female vocals of Michelle Richfield and Hayley Windsor that recall Anneke Van Giersbergen's one) and vague recalls to the seventies rock tradition (Pink Floyd and all the progressive of that period), from the most dilated Cure (a step beside post rock) to a very strong trip hop inspiration 'till fingering the fields we knew in the infamous scene of Bristol ("Reality Clash" could be put in a Massive Attack album). Of the metal noise that is part of their past (early Anathema) there's nothing left, the music got calmer, relaxed, drugged of pain. The songs follow al the same structure (minimal start/ slow progression/possible electric crescendo) and in long terms can result a bit hard to digest. Luckily that does not happen. The dark and tormented worl of Antimatter enters inside easily: suffering sticks upon us, is branded on our skin, penetrates the ears like a weak but intense whisper. One risks to get out of it broken, with the tears in the eyes and a vague sense of impotence. "Lights Out" is pure emotions. Hard not to be overwhelmed.
