Antimatter mp3 download torrent

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Software Images icon An illustration of two photographs. Review by The Crow Prog Reviewer. And curiously, this album sounds more than I expected llike the great Alternative 4 from Anathema, which is undoubtedly the best album where Patterson has ever participated. Therefore, depressing environments with sad guitars and piercing bass melodies reappear, adorned by not always well-tuned female voices and Moss's elegant vocals. Unfortunately, despite the fact that there are three or four brilliant songs, the album becomes dull in the long run, preventing repeated listening.

The mediocre female singin does not help either. Despite everything, lovers of the darker and more melancholic electronic progressive may appreciate this Saviour.

It's the first album I hear from this band, and I must say that despite the style that they practice is my favorite kind of prog dark, atmospheric and dense this collection of songs lack some kind of hook. The production is fine, and the vocals clear and deep, but apart from a pair of tracks the album is rather dull and insubstantial. Best Tracks: This is Not Utopia the catchiest track of the album , Sanctification complex and powerful and Between the Atoms good instrumental development Conclusion: if you are into bands like Riverside and Anathema, you'll probably find Black Market Enlightenment interesting.

But in my opinion, this is an irregular album with a songwriting that is not enough interesting or imaginative to be considered a worthy addition to any prog music collection. This album's theme is that of drug addiction and tackles the extremely heavy subject matter in the lyrical department while creating a dark and lugubrious musical backdrop to push it forward.

This is surely one of the most tense listens of the year as it walks a tightrope between complete emotional breakdown and a sense of suppressed rage waiting to explode but somehow keeps its cool throughout its run. There are also two female vocalists that provide a feminine touch on backing vocals. While the creepy mid-tempo music adds an almost shoegazy sort of guitar distortion with Moss' Gothic vocal style leading the way, the Middle Eastern percussive drives and the kamancheh take the music to an eerie new world where various strains of reality intersect in an unfamiliar way.

The synthesizer rich darkwave atmospheric overcast keeps this one in the clouds like a perpetual brain fog that is tuned into some foreign radio station that is set to sadness. Like most Gothic related music whether it exist in the extremities of metal or the more sensual touches of the Nick Cave camp, this music is eerily romantic and fragile. While the music generally creeps along, the Middle Eastern drumming can become energetic especially on tracks like "Essential," and while the guitar heft is mostly reserved as an atmospheric generator with echoey distortion, it is also implemented to create some metal riffs that chug along to add a sense of crescendo to the mostly stoic and detached emotional tug of war.

Moss' vocal style is very limited as he sings in a low register but has mastered the art of eking out emotional responses with subtle vocal vibrato and tantalizing trills. The instantly catch tracks will hook you immediately but the sophisticated and subtle mix of the swirling storm of sonic interplay will keep you coming back for more. This album is considered heavier than previous ones and offers just enough bombast to create the perfect corrivalry of musical elements. Favorite track: "Between The Atoms" which also happens to be the longest.

With these strong echoes of Anathema in the band's line-up, you may wonder whether Antimatter sound anything like the much-loved Liverpudlian band.

The answer is "no" if you think about anything that Anathema have released before or after Alternative 4. However, Antimatter's Saviour sounds exactly like the introverted brother of Anathema's Alternative 4, if you can think of a version of that album where the more overt metal influences have been replaced by conspicuous electronic and trip-hop vibes, and the mood and atmosphere has veered even more decidedly towards the downcast and the dismayed, if possible.

The connection between Saviour and Alternative 4 is obvious already from the cover art same theme, same color, even same font type for the album title and is almost inevitable, given that Duncan Patterson is one of the main songwriters on both records.

On Saviour, Patterson continues to explore the dark, hallucinated, vaguely Roger Waters-esque atmospheres that he had pasted all over Alternative 4. The main differences lie in the brushes he uses to paint the bleak picture, rather than in the colors. If on Alternative 4 the music lived off the juxtaposition between gentle piano motifs and rough guitar distortion, on Saviour the use of programmed drums, samples and beats dominates the music instead, giving the album a very distinctive electronic feel that often veers into the realm of trip-hop, reminding us of bands like Massive Attach and Portishead.

Distorted electric guitars are used seldom, and are instead replaced by acoustic guitars and keyboard textures. The alternation between these two types of tracks hallucinated and electronic on the one hand, more relaxed and guitar-driven on the other is actually one of the winning points of the album, as it creates a nice variation across tracks that helps keep the listener entertained.

The album sports some beautiful, minimalistic arrangements that add to the claustrophobic, sinister atmosphere of the music. The vocals sometimes processed are also beautifully arranged and performed - Michelle Richfield's style is more melodic and accessible, while Hayley Windsor is more histrionic and experimental and she in fact mostly features on Patterson's tracks. There isn't a single bad track on this album, and the album is very suitable to be listened to as a whole, given the coherent and immersive atmosphere it manages to create.

Nevertheless, some tracks definitely stand out and have in fact stayed to this day on Antimatter's concert setlist. They are both Moss-penned, guitar-driven, singer-songwriter numbers, featuring both Richfield and Moss behind the mic. These are classic Moss songs, melodic, deeply emotional and very dramatic, with a chorus that sticks into your ears on first listen and very poetic and bleak lyrics.

Among the more experimental tracks written by Patterson, "Holocaust", "Psalms", and "Going Nowhere" are all excellent. The latter reprises the notes of the piano motif that had first appeared on "Destiny" from Alternative 4 and adds a ticking clock and hallucinated vocals by Windsor to convey its sombre meditations about death. If possible, Patterson is even more hallucinated and experimental on the ominous "God Is Coming" that reminds me of the title-track of the Alternative 4 album.

Meanwhile, "Angelic" the only track co-written by Moss and Patterson is split between and acoustic, ballad-like first-half and an electronic, almost industrial second-half. In short, Saviour is a very strong debut album by Antimatter. It reproduces that magic, almost mystical atmosphere that Patterson had managed to create on Anathema's Alternative 4 album, but at the same time it is much more than a simple copy of that previous record.

Free of the burden of Anathema's musical heritage, Patterson is here free to explore and experiment with new sounds and influences and can thus bring its hallucinated, obsessive visions into new musical territories that move away from metal and towards the world of electronic music. It is a beautiful hybrid, made all more intriguing by the injections of exquisite singer-songwriter sensibilities brought in by Patterson's bandmate Mick Moss.

The duo, with their different but complementary influences and their shared penchant for dark, brooding atmospheres, constitutes a formidable songwriting pair that will produce two more strong albums under the banner Antimatter, before Patterson left the band. Although Antimatter will go on to produce many more excellent records, Saviour holds a special place in my musical collection, because it was the first, and perhaps the purest and most exciting, collaboration between this amazing pair of artists.

Review by Mellotron Storm Prog Reviewer. It's dark with percussion and other sounds. Sparse percussion is helping out. Bass later. It kicks in before 2 minutes after she whispers "God is coming". A strong electronica flavour here. Sampled violin-like sounds 2 minutes in and to end it. This is very melancholic. Some brief outbursts come and go. Male vocals lead on this one with female vocals helping out.

Some prominant guitar in this one too for a change. Lots of atmosphere with a beat. It kicks in louder late. I really like how the album ends with those two closing tracks but for my taste it doesn't measure up well against the follow-up "Lights Out". Better than "Planetary Confinement" though. After short intro, we are introduced to the new Antimatter sound, which is very bare and acoustic. There's still a strong Anathema feel to it. Especially the violins bring Alternative 4 to mind, but in a more subdued and reflective mood.

It's a beautiful gloomy song. Also Line Of Fire shows the band in fine shape. The female vocals offer some variety in sound. The arrangement is very desolate, only slow acoustic guitars, echoing effects and piano are used. Halfway in, I kind of got the idea, so the instrumental second half with percussion that follows is hardly necessary. With Epitaph starts a string of average material where each individual song still has enjoyable elements but where the whole lot of them is really off-putting.

A feature that particularly annoys me on this album is the numbing sameness of it. If you play the first 15 seconds of The Weight , Epitaph , A Portait , Legions and Eternity you get 5 times the exact same acoustic picking on the exact same chord. Worst of all, that picking has a too familiar ring to it.

I'm quite sure I've heard this somewhere before. Not bad as a collection of campfire songs to impress girlfriends.