Tracks
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This is Antimatter's second album, and a pretty good effort. Not Antimatter's best, but most of it is worth-having if you're a fan of darkwave and/or trip-hop. Here's the rundown on some of what I've found to be its most noteworthy tracks...
"Lights Out" - This is a neat track to listen-to even if you don't listen to the lyrics. There's an intermittent ::BEEP:: sound repeating like the sound of an EKG in a hospital bed, and all indications are that this is a song about dying. The song begins with an old-fashioned air-raid siren, which is a cool effect. The mingling of warmer-sounding keyboard synth with acoustic guitar-heavy interludes makes for a really nicely-layered, contemplative and melancholic vibe. It ends very abruptly, and I think that was also intentional, like suddenly realizing your "time's-up" as it all fades-to-black.
"Everything You Know is Wrong" - Whereas I became acquainted with Antimatter very slowly, I only knew a few songs from a few albums at first, and this was one of the first from "Lights Out." Lyrically speaking, it conveys your garden-variety cynicism and dissent of mainstream thinking and living. It has more to offer than that, though. The synth-keys are really rich and they're nicely layered with clean-tone electric guitar strums in the chorus. There's a solo to finish-out the song with a really spacey-sounding synth-patch, which I think is supposed to contribute to the sentiment of "alienation."
"Expire" - This is another track from this album that makes good background music, whether for a melancholic evening alone, or something in a decidedly dark and sexy encounter. Even a walk through the streets by night. The lyrics are eloquent and probably symbolic in at least some places. I wonder to what Michelle Richfield's line "I've a solution - a final solution..." is supposed to refer, if not something obvious like suicide.
"Reality Clash" - This is really one of those songs that's very capable of depressing the living feck out of me. The mechanical voice in the beginning combined with the specific notes used and the sound quality of the instruments at first remind me of a moment I might see in a low-budget movie made from a dystopian novel or short-story. Eventually Mick and Duncan start-in with the "usual suspects" of bass, drums, guitars, etc, and the song goes in a different direction, though not one entirely incompatible with the gloomy, tainted, flourescent-lit mood of the intro. It's not one of those, "YES!! THIS SONG!!!" tracks to me, but it makes good background music for a low-key night spent alone... unless you're manic-depressive. In that case, stay far, far away from this stuff. o.o ::nodnodnod::
"Terminal" - This song has something melodically similar to the acoustic guitars heard in the first track, and I think that may have been intentional. Ending much the way it began and all that. Maybe it symbolizes the lack of forward progress in our society? That sounds like something Mick Moss would want to convey, heh.
Overall I give this four out of five. It's good stuff and I wouldn't be without it, but Antimatter has definitely done better, both before and after Patterson's departure.
"Lights Out" - This is a neat track to listen-to even if you don't listen to the lyrics. There's an intermittent ::BEEP:: sound repeating like the sound of an EKG in a hospital bed, and all indications are that this is a song about dying. The song begins with an old-fashioned air-raid siren, which is a cool effect. The mingling of warmer-sounding keyboard synth with acoustic guitar-heavy interludes makes for a really nicely-layered, contemplative and melancholic vibe. It ends very abruptly, and I think that was also intentional, like suddenly realizing your "time's-up" as it all fades-to-black.
"Everything You Know is Wrong" - Whereas I became acquainted with Antimatter very slowly, I only knew a few songs from a few albums at first, and this was one of the first from "Lights Out." Lyrically speaking, it conveys your garden-variety cynicism and dissent of mainstream thinking and living. It has more to offer than that, though. The synth-keys are really rich and they're nicely layered with clean-tone electric guitar strums in the chorus. There's a solo to finish-out the song with a really spacey-sounding synth-patch, which I think is supposed to contribute to the sentiment of "alienation."
"Expire" - This is another track from this album that makes good background music, whether for a melancholic evening alone, or something in a decidedly dark and sexy encounter. Even a walk through the streets by night. The lyrics are eloquent and probably symbolic in at least some places. I wonder to what Michelle Richfield's line "I've a solution - a final solution..." is supposed to refer, if not something obvious like suicide.
"Reality Clash" - This is really one of those songs that's very capable of depressing the living feck out of me. The mechanical voice in the beginning combined with the specific notes used and the sound quality of the instruments at first remind me of a moment I might see in a low-budget movie made from a dystopian novel or short-story. Eventually Mick and Duncan start-in with the "usual suspects" of bass, drums, guitars, etc, and the song goes in a different direction, though not one entirely incompatible with the gloomy, tainted, flourescent-lit mood of the intro. It's not one of those, "YES!! THIS SONG!!!" tracks to me, but it makes good background music for a low-key night spent alone... unless you're manic-depressive. In that case, stay far, far away from this stuff. o.o ::nodnodnod::
"Terminal" - This song has something melodically similar to the acoustic guitars heard in the first track, and I think that may have been intentional. Ending much the way it began and all that. Maybe it symbolizes the lack of forward progress in our society? That sounds like something Mick Moss would want to convey, heh.
Overall I give this four out of five. It's good stuff and I wouldn't be without it, but Antimatter has definitely done better, both before and after Patterson's departure.