THE JUDAS TABLE (2015)
Black Eyed Man
Can Of Worms
The Judas Table
'The Judas Table'
All music and lyrics by Mick Moss
Mick Moss - vocals, acoustic and electric guitars, ebows, keyboards, electric piano, programming, additional lead guitar (Stillborn Empires)
Ste Hughes - bass
Liam Edwards - drums, tabla
Rachel Brewster - violins
Jenny O'Connor - additional vocals
Additional lead guitar by - Kevin Dunn (Black Eyed Man, Integrity), Glenn Bridge (Killer, Can Of Worms) & Dave Hall (Comrades)
Additional vocals on 'Little Piggy' by Kirayel
Recorded between April and July 2015 at Wyresdale Studios, Liverpool, except drums recorded at Studio A, Parr Street Studios, Liverpool.
Engineered by Mick Moss, except drums by Jon Withnall and electric guitar by Mick Moss & Ste Hughes
Produced by Daniel Cardoso & Mick Moss
Mastered by Daniel Cardoso
Artwork by Mario Nevado from a concept by Mick Moss
9th October 2015
Not enough attention is passed Mick Moss’s way. The gentile, thoughtful, unflinchingly dark Brit has taken Antimatter from Anathema spin-off band (see: the Duncan Patterson years), to one of the most formidable dark rock bands going. Sure, there’s the occasional tint of metal here and there, and, the band gets the ‘ole “metal association card” to play with, but make no mistake – Antimatter have carved out their own little space in the depressive rock world. Their 2012 effort Fear of a Unique Identity was bold and striking, loaded with spot-on social commentary. The Judas Table is more stark, stout, and, utterly brilliant.
The balance between acoustic minimalism and lush, dreary sonics is properly struck throughout this ten-song outing. Opener “Black Eyed Man” is almost standard Antimatter fare, with Moss crooning over a bed of bleak guitars and patterned violins. The earnest nature of his voice is as unmistakable as they come, perhaps moreso here given the subject matter of not only this particular song, but the rest of the lot as well. (Read: Most of the songs are about deceit, two-faced people, and their various ills and spills.) The bright “Killer” and moving “Stillborn Empires” and enigmatic numbers, particularly the latter, with the great line of “It was a business doing pleasure with you.”
Yet the real gems fall onto the bare “Comrades” and in particular, “Hole,” which might be Moss’s finest moment since “Leaving Eden” (the song). It’s just him and his acoustic, peddling the strings, making dynamic chord changes, all the while his voice strikes a somber, sullen tone. It’s one of the year’s best songs, actually.
Paced effortlessly, and with even more sing-along jaunts (“Can of Worms” is great; so is the title track), The Judas Table should rightfully become Antimatter’s breakout moment. Moss has always had an album like this in him. To see it come to fruition in such a manner is truly inspiring. 9/10
Oh, be still my beating heart. Long have I yearned for a band like ANTIMATTER, I am almost ashamed to say that before writing this review I had never heard of them. Based in the UK, ANTIMATTER are the 21st Century’s answer to THE SMITHS. Formed back in ’98 by singer/songwriter mastermind Mick Moss, ANTIMATTER have been going strong ever since.
Right from the get go one thing is evident; the vocals are spine-tingling. They blend synth, rock and goth perfectly; and quite frankly, for a one-man-band, pretty fucking impressive! I found myself focusing on the lyrics throughout the majority of the album and they actually brought tears to my eyes at some points. They’re incredibly dark and moving and the amount of passion and emotion in the vocals is extremely desirable.
One thing I really admire about this album is the fact you can hear the metal elements, but it doesn’t sound heavy. It’s like they took the darkness out of metal and left the heaviness; much like what would happen if HIM and THE SMITHS spawned a dark, melancholic baby.
This album does, sometimes, have a tendency to lean towards “radio ballad” which does bug me somewhat but after a few minutes my frustration diminishes back to awe. One slight pet peeve is that the album does have a sense of repetitiveness, there’s not many surprises and it’s very basic in structure. Now this is only a slight pet peeve, as I said; the album doesn’t need surprises or gimmicks to attract their audience, it is naturally superb.
This is an album not just for the morbidly-inclined, or even to the metal-head, but to everyone. To quote a favorite TV show of mine, “don’t underestimate the power of darkness, even the purest of hearts are drawn to it”. 9/10
The Judas Table is the sixth full length from singer/songwriter Mick Moss and his Antimatter project, a group formed in the wake of Moss' involvement with the legendary British rock-doom-progressive act Anathema.
The album is yet another stunning achievement for Moss, who-over the course of a recording career marked with stellar high points-somehow manages to continually deliver complex, emotionally resonant music from a unique perspective and point of view. Antimatter has always been a personal project for the multi-instrumentalist and singer, with each successive album stripping further bare the skin of Moss' triumphs, struggles and personal trials.
Musically, The Judas Table falls in nicely with the warm, guitar/bass/synth/drums format of prior Antimatter efforts Leaving Eden, Planetary Confinement or Fear of a Unique Identity, as opposed to the stark electronic minimalism which defined the brilliant Saviour debut from 2002. This, of course, isn't to say that Antimatter and Judas don't possess the cold, bleak moments which have also come to define Moss' layered songwriting sensibilities. Rather, the band these days seems much more content to let the songs do the talking, and dictate the emotional ebb and flow, rather than coming across as a pre-determined sense of being a bit too composed.
Indeed, The Judas Table is full of raw, passionate energy, virtually guaranteed to strike a seriously powerful chord with listeners, as Mick practically pours his entire being out on each song, creating a catharsis which is sad, heartbreaking and very, very real. Antimatter have always been resilient to simple characterization, and there's very little with which to compare The Judas Table, other than raw, impacting music drawn from the same creative soul as some of Britain's classic songwriters.
Sure, bands as disparate as Porcupine Tree or Portishead could be used as starting points to describe exactly how brilliant Antimatter is at the end of the day, but a far easier way to label The Judas Table is much easier, actually: it's essential.
Since the departure of one of the Antimatter's founders, Duncan Patterson, (former bassist/songwriter of Anathema), the remaining member Mick Moss brought Antimatter to the state of being one of the essential bands when it comes to melancholic and atmospheric rock. After two stunning albums, the groundbreaking Leaving Eden (2007) and Fear Of A Unique Identity (2012), both albums set new standards for the dark atmospheric alternative rock music, now Mick's Antimatter is back with a new very introspective album, The Judas Table. Following the steps of before mentioned two albums, the new opus is another proof how to blend together melancholic art rock, goth, atmospheric rock and highly emotional acoustic pieces. The Judas Table is a conceptual album in which Mick Moss sings about his personal experiences, about betrayal, disappointment, self-doubt, and anybody who ever suffered from betrayal on a personal level will without doubt relate to this album, but not only... Mick explained in the interview I did with him: "It’s a concept album that is all tied together with the nightmare scenario of me having a dinner party with all the people from my past who have needlessly stuck a knife in my back."
Even if The Judas Table is an album full of introspective thinking about deficiencies of human behaviour and social life, it sounds calmer and a bit more soothing than the previous two. First of all, like every single thing Mick Moss ever did also the songs up here are very intimate, but also liberating and empowering for those who will relate with music and words. It's like if Mick has found his inner peace, maybe he cleared out his head of some chaos, to give some insight to other people who may think the same way, or suffer the same problems. The Judas Table is an album that needs some time to grow on you, at least some times it must be experienced in your own privacy, without any interference from the outside world, in full concetration...
Musically The Judas Table is a strong album, even if it's very subtle in its essence, it has so much power embeded in all this melancholy. There are much more acoustic lines than on the previous works, but that mesmerizing solemn atmosphere which took everybody out of this world and time on Leaving Eden is still present. Sometimes the ambiances and use of those space guitars and keys might resemble to Pink Floyd from their later era, but Antimatter's sound goes into darker, gothier and in a way depressive spheres, yet if you pay attention to details there are to be found some segments that might have its origin on the pre-Leaving Eden era and those who found joy in the latest couple of albums by Anathema will not remain empty handed. Antimatter is one of those acts that found a perfect recipe how to build the tension in songs, making them dynamic in its opulent way, when the songs slowly build up in ambiance and density.
Antimatter most of the time sticks to the approved formula by using a multi-layered sound with heart breaking almost popy melodies, reverberate strong bass lines, smooth drums, gentle violin, absolutely fantastic keys that make the whole soundscape even gothier, in a short every single element is used with such a feeling and prudence. Ok, Antimatter won't be what they are without Mick's highly emotional baritone vibrating voice, on some places he's accompanied by backing, as well stunning, female vocals, and his refined smooth guitar play which is occasionally spiced up with some memorable solos. Mick's sense to create compostions of highly hypnotizing and flowing segments turned out to be victorious again.
It's almost impossible to separate any of the songs out of the whole concept, but the higly emotive and melancholic gothy opener "Black Eyed Man", the mind blowing "Killer" with hypnotizing 'trip-hop' dark keys, sad and intimate "Comrades" with so very captivating refrain, the dynamic hit "Stillborn Empires", which plays with emotions by exchange of slow melancholic melody that transforms in rushing refrain, yet with such a superior solemn operatic/doom part after the break that must shake the listeners soul, as well I can't forget about superior "Can Of Worms", all of those are some of the best songs Mick ever created and I can say instant classics that will play a visible role in this bands discography. There's also some cynicism used in track "Little Piggy", the trip-hop elements come back into the pallete on the soothing "Integrity" with great addition of magical female backing vocals, and more and more... Even though Antimatter won't surprise you with anything really revolutionary in their sound, the whole album offers a lot if you are willing to experience and follow this extraordinary melancholic thoughtful, yet cohesive journey through those mighty soundscapes.
Mick Moss' battle with his inner demons might seem to be now in an equilibrium, but we who love the music this man does will hope that this battle in his thoughts might never end and Antimatter will still be exploring this intimate and sad side of personal struggle to survive amongst all of evil selfish souls who were born just to cause harm and desperation. All in all, Antimatter created another gem full of amazing soul and mind shaking atmospheric songs! 9/10
Inner demons, brilliant record
Is it wrong to enjoy another’s suffering?
It’s a question that is pertinent to the sixth record from Antimatter. As main man Mick Moss put it in these very pages: “For ‘The Judas Table’ I gather together the various personalities of the people who’s callous and disrespectful, backstabbing actions caused me countless wasted years of depression”, he resumes. “For years I thought the problem was with me. I was always open and tried my best, but was nevertheless used and betrayed many times. This led me to believe I was worthless and must have deserved it. Now I realise the problem was with the clinically psychologically soulless people who treated me that way due to their nature, not mine.”
So yeah, you’d best believe it was personal. And that’s the point, but brilliantly Moss reckons that these tales of darkness would resonate with anyone.
Now, MV doesn’t know anyone like that, and MV most definitely doesn’t listen to The Trews “Misery Loves Company” with a particular person in mind every single time, and MV most certainly doesn’t have a woman in mind every time Counting Crows “Mr Jones” turns up (yeah right…..) but what we can’t do is write songs like this.
Because, no ifs, no buts, no maybes, “The Judas Table” is astonishing. In fact, let’s get it out there now it’s not far from the Prog Rock record of the year.
You can take any one of the cuts here at any point and find something magnificent. Opener “Black Eyed Man” is fragile to the point of almost breaking down in tears, the brooding “Killer” ends in a suicidal maelstrom, and the close on seven and a half minute epic “The Stillborn Empires” which manages to sound like Floyd but have the lyrical content of Stabbing Westward is magnificent, particularly its footnote “it was a business doing pleasure with you.”
And on album of many great lines – Moss almost seems to be writing slogans on occasion not lyrics – the suggestion on “Integrity” that “what’s the point if no one else has any?” is a glorious high point.
The best moment, though, is “Can Of Worms”, which is grandiose and lush and an excoriation of someone who is “ripping me off and bleeding me dry”, compete with an absolutely soaring chorus, before the topping off of a stunning guitar solo.
Not a heavy album (at least not musically) instead it’s full of stripped bare stuff like “Little Piggy,” which might be called “gorgeous” in another context, and the title track seems to want to gather up everything that’s gone before and make sure you understood that this is bleak and uncomfortable, but brilliant.
It ends on a hopeful note. Moss says “Goodbye” to (you imagine) his demons. And he notes “this battle I have won”. Whether it’s a lasting peace who knows? You hope it is.
So the answer to the question posed at the start is yes and no. There are times when “The Judas Table” is overwhelming in all senses of the word, but it’s an album to cherish.
If 2015 has demonstrated any kind of trend in my music-listening it is that I have discovered and been highly impressed with a number of artists with whom I have not previously had dalliances. The list is long and includes the likes of Teramaze, Bauda and Agent Fresco to name but three. Now, as the year reaches its twilight, I can add the name of Antimatter to the ever-growing list.
Based in the UK, Antimatter is the moniker given to what is essentially a one-man project, assisted by what the website describes as a ‘revolving door of one time and regular session musicians’. The main man goes by the name of Mick Moss who, alongside Duncan Patterson (ex-Anathema), formed Antimatter in 1998. In 2005, Patterson left, leaving Moss to fly solo and, based on the content of album number six, ‘The Judas Table’, it seems to have been something that Moss has thrived on.
Moss himself describes Antimatter as dark alternative rock and the ten tracks that make up ‘The Judas Table’ would most definitely support such a description. Antimatter is not for the music fan that’s looking for a light-hearted and instant slice of aural candy. It might not be the most complex in terms of the song structures or the individual performances but what ‘The Judas Table’ is, is a set of compositions that are rich and atmospheric that evoke all kinds of emotions in the listener. Easy listening it certainly isn’t. But then, one look at the wonderfully evocative and striking cover artwork and any notions to the contrary would surely be expelled anyway.
Dark atmospheres, gentle acoustic passages, atmospheric keys and deep resonant vocals all combine beautifully to create some really evocative and melancholic amusic. There are times when the music verges into almost Gothic territories or even into post-rock or ambient realms. There’s even an element of Pink Floydian majesty and occasional forays into more metallic surroundings (‘Stillborn Empires’). But no matter what the direction, the glue that holds the music together is the powerful song writing and an innate understanding of simple yet memorable melodies that draw the you in and which seduce you.
‘The Judas Table’ begins with ‘Black Eyed Man’. The haunting lead guitar that overlays the acoustic framework and strong rhythms instantly reminds me of Anathema but the brittle yet commanding vocals lead my mind quickly away from any thoughts of dismissing Antimatter as being a mere clone. Strange synth sounds add a certain modernity and quirkiness leading me further away from easy comparisons. And then the lead guitar solo hits and I’m thoroughly smitten.
‘Comrades’ is a contender for one of the songs of the year. Beginning with just an acoustic guitar and vocals, it is stunning in its simplicity. The melodies are strong but the direct and poignant lyrics take the track to a whole new level, brought to emotional life by a raw and heartfelt vocal performance. Lush orchestration joins in and the track builds to great effect in the latter stages, only adding to the compelling nature of the song.
It’s fair to say that ‘The Judas Table’ is consistently excellent but other highlights include ‘Integrity’ which displays more excellent lead guitar work and a depth that many other bands would kill for, whilst ‘Killers’ offers a sense of the dramatic as well as a nod towards that Gothic sheen I referred to earlier. The chorus is massive and the piano embellishments are simple yet inspired.
I have no frame of reference and cannot compare ‘The Judas Table’ with previous Antimatter releases. Therefore I cannot proclaim this album as the best of Antimatter’s career. However, what I can say is that it is an undoubtedly superb record and demands to be heard by as wide an audience as possible.
ANTIMATTER is a British rock band that uses elements of progressive rock, gothic rock, and trip hop to create a style that is not quite rock and not quite metal. It is the longtime project of British musician Mick Moss, who formed the project in 1997 with Duncan Patterson (former member of Anathema). Together they released three albums before Patterson left to form a new band. Moss continued the project and released two album called Leaving Eden in 2007 and Fear Of A Unique Identity in 2012. Recently, ANTIMATTER, released their sixth album, The Judas Table, in October of 2015. The album is a concept album that explores the ideas of bad energy that is left in the human psyche after falling in and out of relationships with toxic people, and the betrayal, lies, and manipulation that come with it. According to Moss, the idea for this album and the idea for their previous album came simultaneously after Leaving Eden, however musically this album is a continuation of the previous album, and this is obvious due to the high presence of electronic and new wave influences. The album starts with Black Eyed Man, a beautifully constructed song with a lot of emotion in the vocals, guitar playing, and strings playing in the background. Killer is a little bit more electronic focused than the previous song. Comrades is an acoustic focused song that is much more reminiscent to early ANTIMATTER albums, specifically Planetary Confinement. Stillborn Empires is a much more aggressive song that builds up towards the end and climaxes with beautiful and powerful female vocals. The rest of the album continues to show ANTIMATTER’s balance between the traits featured in the previous songs, while never getting boring, and never losing their cinematic edge. This album will go highly unnoticed, which is an absolute shame. Mick Moss and company put a lot of time and effort into this release, and the output is one of the best melancholic albums in recent memory.
October is the time of the autumn depression. The perfect time therefore for a new Antimatter album. The apparently thought also singer and band boss Mick Moss, who works known since 2005 without his creative partner Duncan Patterson (now Alternative 4, once with Anathema active).
Factory six, The Judas TABLE, reveals the tragic hero not only an insight into his thoughts on the subject of treason personally-human level, but also a strange silence. This no longer has much to do with metal, but also allows exploring alternative and art rock landscapes and gothic-inspired, acoustic fields ('Comrades'). Less profound sound the Englishman in this garb not: Once the music converted dynamically dramatic twists (even to hear the rebellious 'can of worms') come today by desperate monologues of a standing on the edge of emotional destruction protagonists into existence ('Little Piggy'); the fragile voice of Moss ('Hole,' Goodbye ') succeeds but still reliable, pull the listener into his sensitive feelings and create a destroyed on the ground atmosphere in combination with piano, violin and acoustic guitar accents (' Stillborn Empires '), which circulated only tragedy and pain, leaving no hope.
This absoluteness, which gives the development of his music space to Moss feels noticeably at home - even if a few more bursts of electric guitar as said 'can of worms' and one's own personality questioning 'Integrity' to work well face stood. As in October precisely: more sun would be nice, but most of the world sinks into the murky fog.
5/7 – number 2 in Soundcheck in the magazine
Antimatter is a band that has not received the attention it deserves, being as it is one of the best rock bands of dark current.This could well change after the departure of this great album.
Antimatter style has evolved considerably since its inception and his time with Duncan Patterson (ex-Anathema). With depressive dyes and metalheads, but the rock band after all, they have created their own atmosphere thanks to its melodies and the incredible voice of Mick Moss.
Three years after "Fear of a Unique Identity" comes his sixth studio album, with the most controversial and straightforward so far cover and that directly relate to the subject of the disc."The Judas Table" is a concept album based on deceit, treachery, falsehood and hypocrisy.Feelings with which we can all relate to and which are reflected in the lyrics, the music and the feelings of calm that produces listening.
We are facing one of the best albums of Antimatter to date, in line with "Fear of a Unique identity", although perhaps more melancholy, and close to the style and sound of the great "Leaving Eden".
Disk and starts first chords already carry the hallmark of Antimatter; "Black Eyed Man," a deep voice on dark melodies, is a great start to the album, because it contains all the elements that define today to Antimatter.
Stresses "Comrades," with Mick Moss in pure essence, using his voice and acoustic guitar. With dynamic changes and especially gloomy tone of voice, it is quite emotional, and falls short of their best songs.
Also noteworthy "Stillborn Empires" and "Killer", the first of them one of the best compositions of the album, moving from a start toward a heavy melancholy and rousing finale. "Can of Worms" with a great solo, and "Holes" are other jewelry.
Ultimately, piano melodies and guitars that create an enveloping atmosphere, compelling rhythms of drums, vocals that fit perfectly ... Mick Moss has formed a solid whole.
Disk with more pace; more progressive and experimental, that brings out the best of the distinctive character of the voice of Moss. The sweetness, passion and melancholy that transmits make him a unique artist.
9.5 / 10
Three years after the release of Fear Of a Unique Identity, Mick Moss & Co. are ready with a follow-up. The 2012 release was not only their best so far, but also one of the best releases of that year. If that wasn’t enough to get my expectations high, Mr Moss has last year together with Luis Fazendeiro of Painted Black released an album that is not only by far the best release of 2014, but also sure to make it into Top 10 of past decade, should I ever make such a list. Do yourself a favour and pick up a copy of Sleeping Pulse’s Under the Same Sky.
Expectations were further heightened, when Antimatter few weeks ago released the first single from the album, the opener “Black Eyed Man”. The song serves, as fine indication of what this band is all about; mellow dark rock with some truly chillingly sharp atmosphere.
The Judas Table continues with couple of more stripped-down tracks, which make the very core of song-writing shine through. Moss can momentarily paralyze you with just his voice and an acoustic guitar. By the time the plus-seven minute long “StillbornEmpires” begins to unveil halfway through, the influence of Under the Same Sky is clear. This is evident arrangements, song-writing and nonetheless the eminent production.
“Stillborn Empires” is in many ways simple and fragile, but its arrangements and the build-up give it an almost grand feel. Fortunately for Antimatter the epic feel never reaches the level where it becomes pretentious and compromising for the simplicity of the song and its humble lyrics.
Antimatter is basically Moss, but guest appearances on the album deserve the credits as well. Especially Jenny O’Connor’s and Kirayel’s vocals add the songs additional depth and fragile feel. Glen Bridge delivers some great guitar leads, most noticeably on the intense “Can of Worms”.
Lyrically, the album is a concept story and it comes as no surprise that it deals with heavier subject in life, most noticeably manipulation and betrayal. Lyrics are humble and simply, yet with a big depth and honesty.
Musically Antimatter are on familiar grounds taking a bit more mellow approach (perhaps inspired by Sleeping Pulse experience). You won’t get type of tunes like “Firewalking” and “Paranova” on this album, but the approach doesn’t compromise the dynamics and the complexity of the arrangements. Moss’ vocals are as captivating as ever and while I wouldn’t compare his singing to Maynard James Keenan’s in any way, I must say that I haven’t been touched by someone’s vocals as much, since I discovered Tool back in mid 90’s.
The Judas Table wraps around the listener with ease and it feels comfortable and comforting, despite its dark themes. The warmth and the amazing craft used to create this album serve as higher purpose of the album, rather then serving as a display of Antimatter’s abilities as musicians.
It seems as if Moss can’t miss and Prophecy have become one of my favourite record companies around. Make sure to keep an eye on both.
This is not an album to be shared. It is an album to secret away to a place of quiet solitude for those moments of quiet reflection. To immerse oneself in the music, the art, the thought and the emotion. It is an album to cherish. An album to absorb with an open mind and an open ear. It is an album that will become a close companion. It is not an album to be shared.
Three years after Fear of a Unique Identity, Mick Moss returns with the sixth album from his melancholic dark rock band Antimatter. The troubling album cover is a clear statement of attentive intent. Part self-explanatory, and part open-to-interpretation.
The androgynous twins appear to be in an embrace, possibly kissing. But the straight-jackets which enfold them, places the question of whether it is out of love or a lack of a way out. Their mouths are becoming melded into one, suggesting this has been a long-standing proximity, and that any parting will be painful.
The lyrics across the ten tracks tread a similar tightrope of setting a scenario but allowing the reader/listener to balance their own interpretation upon the words. Moss has been keen to add his own angle, quoted in an interview as saying: "For The Judas Table I gather together the various personalities of the people who's callous and disrespectful, backstabbing actions caused me countless wasted years of depression."
"For years I thought the problem was with me. I was always open and tried my best, but was nevertheless used and betrayed many times. This led me to believe I was worthless and must have deserved it. Now I realise the problem was with the clinically psychologically soulless people who treated me that way due to their nature, not mine."
Elsewhere, Antimatter has been keen to promote this as a lighter, more melancholic collection of music, with Moss having overcome his demons. My eyes and ears reach a slightly differing diagnosis. The Judas Table may hold out the olive branch of personal enlightenment, but the thorn of bitterness and regret is still embedded deep within the band's principal song writer. Realising the true source of the hurt often deepens the pain, for a while at least. This is an album scratched with the thorn of bitterness.
The overall atmosphere is quieter, at times melancholic. But still it is a very dark melancholy that pervades every note. There is little space to breathe here. Which is only problematic if, like me, you wish to describe the song writing and musicianship as 'breathtaking'.
The expansive Stillborn Empires, is just one place where I feel Moss has reached a peak in his song writing journey. It is the whole album in one song; heavy and soft, angry and bitter-sweet, and with an unexpected coda ending, based around the wonderful spoonerism: "It's a business doing pleasure with you." Pure genius.
Moss' singing is amazing. The words, such as:'Daddy didn't want you and Mommy gave you pain', just drip with emotion. His subtle reflection between words, between syllables, should truly captivate and carry a listener through the album, especially on the more acoustic songs (Comrades and Hole). His sad, bluesy guitar solos (Black Eyed Man) and his more metallic guitar talents (Can of Worms) have been under-rated for too long.
Check out also the show-stopping change of intensity and pace from Stillborn Empires and Little Piggy. The strength of this album is almost as much about how the songs are ordered as how they are composed.
Rachel Brewster's violin gives Antimatter's music a very unique touch. Often her touches are small but leave an immense impression. The female vocals of Jenny O'Connor work both as inspired caresses of extra harmony (Black Eyed Man), and in taking the lead role (Hole).
However as with most great albums it is the drumming and bass work that shapes and carries the 10 songs. The technique of Liam Edwards on drums and tabla is the perfect match for the music. He creates a different vibe for every song, but it is his knowing when not to play, when to miss a beat or two, that adds the most.
The production brings Ste Hughes' bass to the fore. Again the playing is not over-elaborate but when to be restrained and when to let loose is perfectly judged throughout. The deep, resonating bass sound which pervades this album is utterly gorgeous.
Some may say that this album does rather repeat the key elements of the Antimatter soundtrack. That it is treading familiar ground. That is true. Yet when the music is of this quality, when an album has so much variety in pace and groove, when the production is so magnificently clear, when the lyrics and playing are done with such attention to detail, when everything is in a class of its own, I couldn't give a damn about originality.
I see this album as a fine-tuning and enhancement of what has gone before, to a level of perfection that I do not think will ever be surpassed in this style of music. With The Judas Table, Antimatter has created Dark Rock Perfection. In that respect, it is an album that must be shared.
Conclusion : 10 out of 10
Antimatter is the ultimate form of romance that remained in this musical side. Mick Moss is the last romantic. When we think of romance (let’s exclude the kitsch from our consciousness) is easier to resonate with the idea itself. The Judas Table is a melancholic-tragic experience and you enjoy of its existence, as you enjoy when in theatres is played Shakespeare. Transform your inner space in a theatre and let this musical creation make its game. I have always appreciated music that induces me a specific mood, regardless of its genre, subgenre, shape, direction. Antimatter has always been that kind of project that I expected to shiver my emotions and feelings.
This material is focused on slow guitar rhythms and Mick’s voice gives birth to some sort of a ballad that can create addiction. There are, obviously, songs that involve more peace, more intensity. They are places somehow, when consumed with that addiction, avoid any trace of boredom. Thereby, the rhythm is broken from songs like Stillborn Empires or Can of Worms. Stillborn Empires is the song that I really wanted to listen again after The Judas Table end its Goodbye. I like the intensity and the feeling of metaphysical disgust. Little Piggy reminds of one of Anathema’ songs, I can’t tell you which one; I let you use your imagination and intuition. But there is definitely something, a note, a sound, a hint…
The Judas Table is like a dairy of Mick’ personal experiences, some that involves disappointment. Weaknesses in human behaviour and social life have always been the main theme of Mick’ lyrics. This material reached limits exceeded by the composer and we refer to the various personal conflicts related to people in his proximity. It is a betrayal that identifies with the album title. The disappointment and the betrayal have many faces and forms, but The Judas Table is that result that transforms a slap into a consolation.
Despite the very metal cover of two kissing androgynous beings in straight jackets, Mick Moss and the melancholic rock that he produces is anything to jest about. Formed in the late 90s with ex Anathema bassist Duncan Patterson, Antimatter’s sound was ground breaking, incorporating goth metal, emo as well as ambient, new age and even trip hop! However, since Patterson left in 2005, Moss has forged on admirably with a sound that has become less experimental and harder in preference to a largely acoustic base but still retaining the goth rock and certainly plenty of melancholia. “The Judas Table” pretty well continues in style from its 2012 predecessor, but overall is gentler while echoing even more sadness through its 10 tracks. Always cerebral in his lyrical concepts, Moss has taken an introspective in exorcising his inner demons through musical catharsis of “The Judas Table”, whose central theme is betrayal, and hence its poignant title. With a neurotic edge in his vocal style that sorta reminds me of Fergal Sharkey, Moss has spent many hours in despondent contemplation to create the brooding, yet utterly mesmerizing material on this 6th studio album. To say songs like ‘Killer’ with its dark electronica meets emo rock a la Prime STH are soul shaking is something of an understatement as Moss’s brilliant guitar work tears into you like the bitter sweet moment of heart break. Taking a more laid back approach in his vocal drawls on ‘Stillborn Empires’, Moss contrasts his mellowness with a heavy fuzz toned guitar that powers in along with some haunting vocal harmonies in subtle backdrop – exquisite! With a goth vocal accompanied by some delicate piano on ‘Can Of Worms’ the backdrop comes in the form of dark electronica, building climatically during to the chorus where heavy guitars once again add to the overwhelming emotion topped off by a rock out solo. If there is light moment on this album, then that odd ray of sun is in ‘Integrity’, where one really feels that Moss has come out of it all, a better man freed from the shackles of soullessness around him, liberated and empowered in trouncing his inner demons to finally reach the inner peace we all ultimately crave for. Simply breathtaking.
We have gotten to know Mick Moss and his poetry through the years, both as Antimatter and as a part of other projects (such as the great Sleeping Pulse). For all those who listen to the English musician's works, the near-silence following the masterpiece "Leaving Eden" (2007) and the news about his personal tribulations were a tough blow, and over those years there was only one official release published by Prophecy Productions in 2010, the collection "Alternative Matter". The studio comeback in 2012 for "Fear Of A Unique Identity" finally signaled Moss' return to composing music and his clear intention to once again tour Europe's most intimate venues, after an almost complete silence of about one year and a half.
The musical eruption that Mick Moss has experienced over the past few years has also given us lots of "feels" via live shows (such as the solo concert he did in Prato last year), so I really can't hide how eager I was to listen to "The Judas Table". There was a lot of talking straight when the artwork (designed by the artist Mario Sánchez Nevado) came out, and it seemed to have split the audience because of its clear discontinuity with the previous releases. Apart from the subject — two hairless people entangled in a forced embrance (both of them wear straitjackets), as their lips are literally fused together in a passionate kiss, on a red background — it was the first time that an Antimatter cover image is so colorful and we can actually see some human expressions in it (while in "Saviour" and "Fear Of A Unique Identity" the characters were almost totally impersonal and monodimensional). This transformation is also reflected in the music.
Once again Antimatter experienced a musical evolution: sure they are still mainly an expression of Mick Moss, but this time around they feel even more as an "actual band" if compared to "Fear Of A Unique Identity". Some of the musicians that had already worked with him in the past (such as bassist Ste Hughes and violinist Rachel Brewster) came back to the line-up and added some of their touches to the record (as in the great "Little Piggy"). The band's sound became more complex, even featuring some metal elements (in the second half of "Stillborn Empires"), apart from a handful of the renowned melancholic ballads founded on acoustic guitars that Moss has gotten us so used to ("Comrades" and "Hole"). There is pretty much everything on here, also a heartfelt guitar solo by Glenn Bridge on "Can Of Worms" (and several others played by different guitarists as well throughout the album). However, the main thread of this work is still Mick Moss' voice, somewhat reassuring in the world rife with doubt that has always been the stage of Antimatter's reflections. "Goodbye" is an adequate closure performed by Moss with just vocals and guitar, reminiscent of the songs written before the band's "rock" period.
The band confirmed its status as one of the safest bets in terms of quality on Prophecy Productions' roster, proceeding on their exploration of different atmospheres without losing their emotional grip. One of my most anticipated releases this year, also because Antimatter have just started a new European tour that will hopefully take them everywhere, and we will try and be there for you.
With Anathema bassist and song-writer Duncan Patterson having left the Antimatter project in the sole hands of former writing partner Mick Moss a decade ago, The Judas Table (Prophecy) is the sixth release under the Antimatter banner, and the third of Moss’ own making – the initial triumvirate featuring a split of compositions and recordings made by the pair mainly in isolation of each other – and continues the move to a more organic melancholy, leaving further behind the electronica that had featured in their earlier material.
Introverted and disappointed (though not disappointing), Moss uses The Judas Table as a cathartic vehicle to share his dissatisfaction with the people and situations he encounters in life, along with the betrayals and frustrations that he faces; “Just another dream that died…” he laments in ‘Stillborn Empires’.
Wholeheartedly earnest, there is no mistaking the feeling and conviction in Moss’ unassuming vocals, vulnerable on ‘Little Piggy’, a heartfelt song that builds from simple acoustic and vocal origins, or the more powerful, though still emanating a fractured soul, oration in the title track, his baritone meshing with a haunting female vocal and cello accompaniment.
The Judas Table invites reflection, it opens a forum to analyse loss and betrayal, and is a catalyst for melancholy, yet in a therapeutic way; there is something cleansing and uplifting about the introspection and realisation that occurs during the musings propagated by the subtle and underplayed despondent art rock Moss has produced. On ‘Hole’, the stark staging and gentle progression is as effective as Moss’ gets, sincere and sparse, just a voice and a guitar until the song spreads and breathy female vocals accompany a coda that slips away as delicately as it was constructed. Indeed, most of the songs here develop and sprout from clean guitar strums and soulful male vocals, building through adding strings and synths, and, at its core, are about the sharing of feelings, of sadness.
It goes without saying The Judas Table is not an album for all occasions, but its beauty and melancholy has a place and time with genuine and heartfelt emotions, it is a reserved and affecting soundtrack to reflection.
Melancholic moods, gothic atmosphere and delicate themes feature heavily in the sixth release by Liverpool’s Antimatter, the long term project of singer/Songwriter Mick Moss who has used a revolving door of musicians throughout the years. According to the band’s website, The Judas Table is a ‘concept album exploring the residual bad energy left in the psyche after falling in and out of a relationship with a toxic personality’ as well as examining the ‘driving force behind betrayal, lies and manipulation …’ So there you are then. No songs about Satan or hot dogs (What?-Ed)on this album.
It is a fantastic album, beautifully constructed with complex sounds, drum beats and haunting piano/keyboards underpinning Moss’s excellent song writing skills. The Roxy Music infused Killer is one of the standout tracks, along with the gentle Comrades which features a background string section and a sole acoustic guitar before slowly increasing the tempo ever so slightly. In fact, every track is crafted to the highest quality, with the musicianship superb, instruments connecting almost symbiotically. Hole is stunning, emotional and powerful but so simple in composition. The title track The Judas Table would sit comfortably on any of Anathema's recent works (and I really apologise for this as I know the Anathema connection haunts Antimatter thanks to former member Duncan Patterson’s tenure with both). The Judas Table is an album that demands repeated listens, and is clever and complex yet is also accessible at first listen. The Judas Table is another excellent release from one of rock music’s most intriguing and gifted artists. 9/10
Antimatter is the project of the multi-talented Mick Moss. You can’t help but connect Antimatter to Anathema because both bands share an ex-member in Duncan Patterson. So they do share some “remote” DNA. Stylistically, Antimatter have a darker sound than Anathema does now but if you recall, Anathema used to have that dark atmosphere.
That is one reason that I find myself enjoying the new Antimatter album, “The Judas Table” more than the last Anathema album. Mick Moss has experienced the disappointments that we all have and that’s one reason that I can really identify with his music and lyrics. Vocally, Moss still sounds like a dead ringer for David Sylvian. His bottom range has that “trailing” vibrato that Sylvian has as well. This might take some getting used to for the uninitiated.
The album starts with “Black Eyed Man” which has an inherent beauty to it. At first, I wasn’t keen on some of the odd sound effects midway thru it but once the Gilmour-esque guitar solo kicks it (there are a few of those), it’s just amazing! “Killer” is another amazing track. It has one of those intros that is instantly definable to the song. Synths, pianos and a soft drumbeat. It does kick in which just adds to the dramatic feeling of the track. Moss is the master of drama and emotion.
“Comarades” is a track of two halves. The first half is basically an all acoustic affair and just when I was thinking it wasn’t going to really take off, the band kicks in and there is a insanely beautiful acoustic lead. It just ascends from there; amazing track! “Stillborn Empires” is another one that takes a turn. You think it’s actually OVER 5 minutes into it, but it just gets heavier and there’s a very cool, female operatic vocal.
I love that about “The Judas Table.” The songs are first and foremost but the arrangements of the songs are just as key. Lyrics are also quite memorable. “Integrity. What’s the point if no one else has any?” One of the best lines on the album. Mick Moss has the rare talent of getting to the point without mincing words and still being poetic.
“The Judas Table” is an incredible record. If you like dark, brooding music in the vein of Katatonia but with a Floydian slant, Antimatter have something for you here. Mick Moss proves once again that music has to be about the song itself. And melancholia is as beautiful as ever. I recommend listening to this outside under the stars at night with headphones on to achieve total bliss.
The Judas Table is the sixth album by Antimatter. If you search the band on the net, it is often described as a melodic rock band. I disagree, because most people will associate this with feel good tunes. The feelings are central, but they’re not always cheerful or merry. The Judas Table is in fact anything but a happy record, it's a concept album that deals with relationship problems, lies, being cheated and how you deal with it. Do not get me wrong, it's certainly not the work of an embittered man, but simply the purest and most delicate thing that Mick Moss and Antimatter have done. It is therefore a concept album in the full sense of the word. There are new songs, but also old unreleased ones that were written at a time when it was not so easy for the singer/songwriter Mick Moss.
These tracks need some time, just as Mick needed the time to process these feelings. Now, the time has come and that results in a very sensitive, but a musically and lyrically strong album. The overall picture is correct, all the pieces fall together seamlessly. A remarkable and a very strong side of Antimatter is that the negative, even aggressive feelings are brought in a gentle way. Each song tells a story that is very recognizable, but it is done in such a gentle way that you feel subdued instead of rebellious. ..... The delicate acoustic guitar, the melancholic violin lines and the wonderful guitar solos along with the voice of Mick Moss, make this album a true whole.
This is an album that you have to give time. You can easily be carried away by the magnificent harmony between the music and the singing and just forget about the concept, but that would only be a dishonor for the record. This is a listening album, in which the music supports the feelings. I advise you to listen to the lyrics very carefully well and let the music wash all over you, and then you will notice that The Judas Table is an album of the kind you rarely encounter. The digipack version comes with a bonus CD on which Mick Moss explains track by track why they have ended up on the album. The Judas Table is a very strong album that crosses all boundaries of genres
Antimatter is now one of the absolutely most outstanding bands in the quieter climes of ... yes, what do you call that? Post-rock, prog-rock, art-rock, Metal? Little bit of everything, probably. Still are fragile, fragile melodies at the center, performed by restrained acoustic guitars and strings that erupt every now and again in angry metal passages. The vocals and the lyrics by Mick Moss are still deeply personal and are in the importance of gentle melodies in every way. One notices here and there that the home of Antimatter someday Anathema were, only that Antimatter go as opposed to now far too verkopften Progressive former colleagues directly in the heart and brain.
"The Judas Table" is a concept album about anything people can do to other people, about pain, loss, humiliation, intolerance, rejection; every word that negative behavior patterns of a person to another person describes opposite, finds its place in this deeply sad inventory of human error. Suitable for this is the album cover, which can display the dependencies of the people of the emotional connections to other people on fairly direct way.
If you listen to the album it seems, however, actually as if Mick Moss expelled his demons. The too intense contrast between aggressive outbursts and self-destructive-fragile passages that still prevailed on "Fear Of A Unique Identity" is, on "The Judas Table" gentle, clear, logical. It seems almost as if someone had Mick Moss and his music worked with sandpaper to wegzuschmirgeln all the Splitter, which could hurt the handset.
What remains is a gentle, quiet album full of pain has been accepted.Some pieces irritate by her intensity potential clearly not enough of ("killer"), some scratches on the verge of boredom along ("Hole"), while others are to surpass by the mere omission louder parts in personality barely - see the outstanding "Comrades ". It can be placed each just the heart, this album focused take on headphones in itself, as well as anyone will be reflected in the texts sometime somewhere. Does absolutely surpass "Stillborn Empires", seven and a half minutes of pain, intensity and lyrics like 'Daddy did not want you and Mommy gave you pain'.
The halfway peaceful truce Moss has here closed with itself and its environment seems incredibly sad at the latest when "Little Piggy" brittle.The album is not even published, and it is already waiting on how the may well evolve.
Musically one may Antimatter call, but they may sometimes differ slightly from their way down, break, do something that surprised because Antimatter are Antimatter and they evolve in rather narrowly defined paths. Due to the outstanding songwriting and technical skills, a forbidding "is always the same" almost by itself; but the ridge is very narrow.Lyrically, however, the Seelenstrip Moving ahead, there are developments, changes. That a series of texts of several albums can awaken many years in the listener the same interest as only television series - which is reallyhigh art.
The seventh album in fifteen years of Antimatter is the classic event which should deserve much wider areas than those in which, usually, works of this kind are confined, at least in Italy at our miserable music.
Yeah, because it's not every day you can hear such an inspired album, touching and performed impeccably from a band like the one led by a musician who, despite his modesty and shyness, rises of countless spans above the competition Mick Moss.
After a touching and painfully hard folded on itself like "Leaving Eden", had to be five years before you can listen to new unreleased material from Antimatter , and "Fear of a Unique Identity" had come to show a new willingness airy and melodic openings to a more rock-shaped entrusted to songs that, in its beautiful predecessor, had mostly the appearance of acoustic ballad (for the record, I had to choose a song in all albums of Antimatter , I'd take just one of these, "Ghosts"). the Judas Table lies exactly halfway between these two musical expressions, showing both faces, both separately and in some songs, both simultaneously in other: the end result is what, perhaps, it was easy to expect from those who adores this magnificent musician, although at the same time far from obvious. How many today, in fact, those able to tap into an equally exciting the innermost soul strings only with their own voice and an acoustic guitar as Moss succeeds aa do several times in this work? Once in Comrades we are already nearly exhausted the tears and we are not even a third of the way; this song, legitimate daughter of "Leaving Eden", is preceded in the lineup from the magnificentBlack Eyed Man and from the busier and potential single Killer . Stillborn Empires picks up where the opener had taken the start, or by those melancholy sounds coated a more pronounced rhythm, able to enhance the pearlescent steps before opening out into a final semi-orchestral, which enhances the painfully solemn impact. Little Piggy back to the acoustic tones Comrades , revealing another of the album's emotional peaks, while with Hole one is always on an introspective piano but slightly less compelling, however, revealing the ideal introduction to the blazing Can of Worms , song with a chorus that would be the envy even to Alter Bridge. the orecchiabiità of Integrity , enriched by a beautiful solo guitar and female vocals just as enriching, anticipates the title track, another of the many jewels scattered in an album which sits firmly on top of my playlist year, with many opportunities to stay there. Mick Moss succeeds in moving us back and wonder, this rate inspired thematically by betrayal, seen on the side of those who have suffered, yes, but not forgetting, I might add, even those who have perpetrated acting lightly and receiving in many cases, such as the right nemesis, the need to continue to live with the weight of irremediable pain that caused. the Judas Table closes with another acoustic track titled Goodbye , the perfect farewell for a record that reinforces the status of Mick Moss as the supreme poet of introspection and melancholy flow of 'existence. 9/10
Almost three years ago ’Fear Of A Unique Identity’ came out, the genuine album that heralded the second decennium of Antimatter. Mick Moss was already the captain of the ship for a while, after Duncan Patterson’s departure in order to explore different musical horizons. At that time Mick already announced that there was a twin album in the pipeline, a basket full of emotions that needed to be realized into audio beauty. That’s what ‘The Judas Table’ has become: Mick’s personal statement to the ‘human beings’ that hurt him or did him damage in one way or another.
This album goes deep, with a nearly sacral devotion and intensity. When you read the hidden thoughts behind it in our interview, you realize that it has been a catharsis for Mick, a therapy, a strenuous path to find peace with himself and the surrounding world. We are grateful that he wants to share these personal feelings with us in the shape of magnificent, captivating songs. The album kicks off with two firm rock songs inclusive howling guitar solos that pierce you to the very marrow. In opener ‘Black Eyed Man’ we are merged into the heartfelt voice of Mick, supported by acoustic guitar and spooky sounds until the guitar solo cuts loose.
‘Killer’ is more based on keyboards, it brings in a dark new wave atmosphere before one of the guest guitarists send again his soloing magic into the ether. But the demons are also freed in fragile songs such as ‘Comrades’ (where are they now, the comrades? In the end I am better off without them), the title track with sweet sung chorus or the introvert ‘Hole’ with its open-hearted fragility. The seven minutes long ‘Stillborn Empires’ can soon be watched on video and opens the complete musical universe of Antimatter. Other features belonging to that universe are the melancholic violins of Rachel Brewster and the backing vocals of Jenny O’Connor that incidentally pop up in the songs. ‘Can Of Worms’ and ‘Integrity’ are stand out songs that begin with piano or dry percussion, but go in crescendo - via the bitter, intense lyrics - to wealthy eruptions with fervent guitar solos. “Just another dream has died”, Mick sings in ‘Stillborn Empires’, but with ‘The Judas Table’ he has eternalized his next musical diary that will move so many people. The production of Daniel Cardoso is crystal-clear and organic. Pour yourself a glass of red wine and enjoy this magnificent music with eyes closed! The world around you will sink into nothingness and oblivion… 93/100
Founded in 1998 by Mick Moss and former ANATHEMA band member Duncan Patterson, the British band described itself to be the saddest band of the world. The music embraces elements of Dark Rock, Progressive Rock, Alternative Rock, also some Trip Hop. Together they produced three albums before Duncan left the band in 2005 after finishing ‘Planetary Confinement’ in order to pursue his own project ION. Thus Mick decided to work alone with ANTIMATTER and released in 2007 the critically acclaimed album ‘Leaving Eden’. With the just launched ‘The Judas Table’, six studio albums, two live albums and three compilation albums are released.
Good news for the friends of cultivated sadness: the saddest band on earth hasn’t still become any happier. Already the excellent cover work gives you an impression what this album is about. It displays an androgynous couple kissing. They seem to melt together with this kiss but as they are bonded together, the onlooker cannot be sure if this couple is kissing by choice or just forced by the situation they are in. This melting image could also imply that one is sucking the life/ energy out of the other which would also fit perfectly to the leitmotif of the lyrics.
Was the former album ‘Fear of a unique identity’ more about the problems of the individual person in this society, the topics of this album are more of personal experiences with other people in close relationships. As the title implies it deals mainly with betrayal, being sacrificed for the benefit of the other. With the lyrics of this album Mick Moss gives the listener an intimate insight of his struggle of being caught in traps close relationships laid, the feelings of being abused for their needs, being betrayed, made responsible for their own failures and thus feeling bad and even guilty before he finally sees through the snares and is able to free himself from this. In a distinguished way he exposes the psychological tricks others use to make one feel bad or being the reason that the relationship went wrong. Though the songs are about personal experiences and observations surely many people can relate to them as well.
Most of the songs are serene, carried by the soulful melancholic vocals of Mick accompanied by the acoustic guitar and accentuated drums. But of course it is still a Dark Rock album as the e- guitar shows up to increase the tension. At ‘Killer’ synth sounds lay an appealing melodic sound carpet. ‘Comrades’ then is again dominated by the acoustic guitar with some touching accents set by the violin, played by Rachel Brewster. The whole arrangements are carefully set in order to give the lyrics the space it deserves. The music underlines the atmosphere of each song perfectly. My personal favourite song is ‘Stillborn empires’, musically for its turns that creates some tensions and because of the lyrics about being treated cruelly by someone just because this person had experienced such treatment from childhood on and learnt to be this mean as well. Peculiar interesting for me is the last line, being quite meaningful with stating as a résumé ‘It was a business doing pleasure with you’ instead of ‘It was a pleasure doing business with you’.
With the last song ‘Goodbye’ we have a kind of bitter and partly resigned summary of these oppressing experiences and people but also an emancipation from these ties and people that are not good for ones wellbeing. Concluding I can say this is definitely a fantastic album consisting of deep and thoughtful lyrics, carried by the intense vocals of Mick Moss and underlined by beautiful melodies with carefully and smartly set accents. 10/10
Just in time for growing cold weather make us happy Antimatter with the new album The Judas Table. Not only the excellent Cover stimulates the thinking to impress even the most withdrawn aesthetics of music knows to go yet before apparently frugal set accents in incredibly sublime arrangements over. It create Antimatter and of course frontman Mick Moss to start a mental cinema, as it were involuntarily to draw the listener into the gravitational field of the music and extremely fascinating. Of course comparisons of some moderation Katatonia come to mind, where Antimatter less metallic, however like to get along well even with acoustic guitar and the typical covered with Hall vocals of Mick Moss. The texts of Antimatter are mostly of a personal nature, as well as in The Judas Table, where Mick Moss almost hypersensitive dealing with interpersonal relationships and the associated pitfalls. Absolutely necessary is check them out of the texts does not, the band is also without lyric support due to over the years grown form of expression for granted.
Conclusion: Antimatter publish with The Judas Table certainly a highlight of Art Rocks. To describe the band as Gothic it is absolutely no longer appropriate, even though many fans of the Gothics know the band and you like them tend to locate there. Those who are not necessarily from morning to evening Death Metal would like popping around the ears, instead, can sink into a good book, which should necessarily access, for The Judas Table is a wonderfully intense calming influence in sometimes quite hectic everyday life. Playing tips: Black Eyed Man, Comrades, Stillborn Empire, The Judas Table 8.5/10
The British musician Mick Moss has raised since the departure of Duncan Patterson, the music of the band Antimatter to the next level.The Judas Table is the calmer brother of it appeared three years ago Fear Of A Unique Identity and goes into the personal disappointment of Moss. His experiences with people around him to put him into deep depression and comes to full expression on the album. He is supported on the track recorded in his own studio by various session musicians, but still plays the leading role.
Black Eyed Man unfolded the lie of man himself in a frightening setting around us. The dark side of existence is taken at times by the beauty of the acoustic guitar. Rachel Brewster is again responsible for the sadness of the violin. The sounds of vocoders going on in the immersive guitar solos and to make it the unscrupulous issues deep into the inner man. Killer finds its way into the sound of the electric piano. The murderer arises slowly and leaves surround the people in the area by fear. The dark tones are enhanced by the intense guitar playing from guest guitarist Glenn Bridge. The musical world of Moss leads by artists like Anathema. In Comrades he seeks in his poignant vocals to the so-called friends, who enter life and leave quietly again. The soothing sounds make sure the thoughts slowly make you loose and you find the inner freedom.
Stillborn Empires builds up from the drumming of Liam Edwards and gets the addition of piano and the guitar playing of Moss. The weak man is abused by others and leave the painful memories of the past.The dreams of a bright future, one at inflated in the poignant sound of the song. Life seems to come to an end when the guitars as bulldozers through your mind to steamroller. Mick leads him through his emotions in his depressive vocals and leaves no time untouched. Little Piggy subcutaneous emotions are brought back to the surface. The acoustic guitar gets its depth with the sad violin Rachel Brewster. The little pig which mistreated on the flight and must be for the people who want evil. The frightening pursuit does not end well, because the cruelty of her pursuers never stops. Mick seems Hole more to grow towards the voice of Eddie Vedder. Love seems to be open, but you will be disappointed. You will be thrown into a deep hole and seems to drown in your own mind. The sounds of the tabla keep the tension in balance and Jenny provides the emotional sounds in her singing.
Can of Worms enter further into the gray clouds. The intense singing makes sure that you are not able to run away from the humiliation. The electric sounds rain overwhelms the heavy guitar solo in which emotions run high. In Integrity provides the percussion used for a deliberate tension. The reliability of the people around you has come to zero. The guitar playing displaces the sincerity and you do not remember who still really care about you. The title track The Judas Table shows an overall peace with the supporting vocals of Jenny. It's too late to change when the walls are demolished of personal freedom.Humiliation and envy managed to add a chapter to the song. Goodbye farewell to the people you live are destroyed. Ascended from a deep valley and stronger than ever before you close the chapter and let the person you once were never to love.
Mick Moss knows his personal experiences in life in profound sorrow at The Judas Table make it apparent. His poignant singing and musicality of connecting the various session musicians provide both the pain he feels as a way out of his depression. The musical power of the guitar solos are not going as deep as pastor Fear Of A Unique Identity, but knowing more on the interplay between the emotional to play in peace and the violent dislocations. On The Judas Table Mick adds a final chapter to the impressive tome of his past and may in the future to work with renewed vigor. 7.9