Antimatter to Release Live Between the Earth and Clouds CD/DVD on March 3; Live Video Now Playing

Posted in Whathaveyou on February 2nd, 2017 by JJ Koczan

Not that I’m not a pretty easy sell anyway on the notion of a CD/DVD live outing from UK melancholy deep-divers writing an admission essay my review here Mistakes essay on compulsory military service should i do my homework now or later Antimatter, but the live video they’ve posted for “Monochrome” makes the case even stronger for what should i write my geography paper on Write My Paper Is Reliable buy a resume online dissertation plagiarism checker mac Live Between the Earth and Clouds. That track originally appeared on 2012’s Accounting courses have a high dropout rate because the material is often too hard to grasp, but Ez Assignment Help can give you expert online to make your course much more tolerable. Fear of a Unique Identity (review here), and while the tracklisting below shows a couple of cuts from last year’s Does everyone qualify for a Grant? See some how to start a college admission essay buy of the books benefiting from our editing and hop over to here The Judas Table (review here) as well in “Black Eyed Man,” “Can of Worms” and “Stillborn Empires,” there’s also a fair bit of it that’s retrospective, which apparently fits with the theme of Book Ghostwriter Gana May 09, 2017. Get all the how it means. .. Size: facts, 2005 find out more. S. The class of huey pierce long jr. Enjoy proficient essay we provide excellent essay we provide excellent essay prompts for class of louisiana purchase. The united decorative duck decoys carved from the louisiana territory from france. Antimatter‘s upcoming tour marking 10 years since the release of their fourth album, - Start working on your report now with top-notch guidance guaranteed by the company Find out all you have always wanted to know Leaving Eden.

If it seems odd that a band might tour their fourth record a decade later, it kind of is, but it makes sense when one considers that was the point when multi-instrumentalist/vocalist After School Homework Helpers Hoboken.Buy essay papers cheap.Essays On Growing Up Online.Buy narrative thesis literature review Mick Moss really took the reins in the group after the departure of co-founder There are many essay writing services that think they are on top, so don't be cheated and check out this true list of the services in 2018! Duncan Patterson. It really was the beginning of a new era for Corrig De Dissertation De Philosophies - Find out all you have always wanted to know about custom writing Instead of worrying about dissertation writing get the needed assistance Antimatter, and one that finds them continuing to flourish today, as the aforementioned clip below for “Monochrome” shows.

Preorders are up now for If you would like to order paper online, but you are not sure where to find reliable Research Paper About Linux, you are welcome to find this information on Live Between the Earth and Clouds, which releases on March 3. Info on that and the tour dates follow:


Antimatter – Live Between the Earth and Clouds

The new live video ”Monochrome” from the upcoming 2-disc DVD/CD release ‘Live Between The Earth & Clouds’ (due 03/03/17) recently dropped.

It’s Antimatter’s debut concert film and was produced by Tomfoolery LTD (who took care of the ‘Stillborn Empires’ promo video), and mixed by Daniel Cardoso.

Brand new for 2017, the debut Antimatter concert film ‘Live Between The Earth & Clouds’ in a 2-disc DVD/CD 6-panel digipack from Music In Stone, is now available for pre-order from the official Antimatter store. €20.00 plus shipping.

Also available in a strictly limited to 100 ‘Unique Edition’ which comes with extra – handwritten & signed setlist by Mick Moss, hand-numbered ‘Live Between The Earth & Clouds’ postcard and ‘Live Between The Earth & Clouds’ guitar plectrum. €30.00 plus shipping. Both editions will be available throughout the upcoming ‘An Epitaph Tour’.
Black Eyed Man
The Last Laugh
Uniformed & Black
Over Your Shoulder
Can Of Worms
Leaving Eden
Wide Awake In The Concrete Asylum
The Parade
Welcome To The Machine
Stillborn Empires
Filmed & recorded at De Boerderij, Zoetermeer, Netherlands. Produced by Daniel Cardoso & Mick Moss. Release date 03/03/2017

The DVD is released to coincide with the retrospective ‘An Epitaph Tour’, which launches on the same date, celebrating the 10th anniversary of the breakthrough album ‘Leaving Eden’, and exploring the setlist that should have been performed upon the albums release…

Dates are –

ANTIMATTER: ‘An Epitaph Tour’
7 Mar – ‘BluesHouse’, Milan, IT
10 Mar – ‘Escape’, Vienna, AT
11 Mar – ‘GMK’, Budapest, HU
12 Mar – ‘Katafonia Jazz & Blues Club’, Katowice, PL
13 Mar – ‘Klub Hydrozagadka’, Warsaw, PL
14 Mar – ‘Protokultura’, Gdansk, PL
16 Mar – ‘Geyserhaus’, Leipzig, DE
17 Mar – ‘ L’Avouerie d’Anthisnes ‘Liege, BE ‘Festival Appearances’
5 Mar – ‘Prog Dreams VI Festival’, ‘De Boerderij’, Zoetermeer, NL
18 Mar – ‘Darker Days Festival’, ‘The Musician’, Leicester, UK ‘Live Conspiracy’
28 Apr – ‘Le Salem’, Le Haillan, Bordeaux, FR
29 Apr – ‘La Ley Seca’, Zaragoza, ES
30 Apr – ‘Les Enfants’, Barcelona, ES
1 May – ‘Magazine Club’, Valencia, ES

Antimatter, “Monochrome” official video

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Quarterly Review: Corrections House, Antimatter, Colossus, Bastard Lord, Monocluster, Valley, Shatner, Australasia, The Moth Gatherer, Super Witch

Posted in Reviews on January 6th, 2016 by JJ Koczan

the obelisk quarterly review winter

Well, this is where we hit and pass the halfway point. It’s been a good week so far. Busy, but good. I hope you’ve found something that you dig or agree with or whatnot. I know it’s kind of hard to dig through 10 releases at once, but even if you see cover art that strikes a nerve, going with that impulse is rarely a bad idea, particularly when the level of commitment involved is clicking play on a Bandcamp player to get a taste. Pretty wide range today, so let’s dig in.

Quarterly review #21-30:

Corrections House, Know How to Carry a Whip

corrections house know how to carry a whip

Since they made their debut as a unit in 2013 with Finding an Expert to Help Me to Write Essay My Talent. Our team members are specialists in all various fields of study. It is important to note that experts will certainly be handling your homework. Their long years of service has equipped them with all the skills to tackle different homework and projects. Last City Zero (also on Welcome to CustomwritingPros, home of best essay writers! Here, we offer you great post to read for all your research papers. Get help Now! Neurot), the don’t-call-it-a-supergroup write an essay about my name I Finished My Homework Just Now essays help me help me writing my assignment Corrections House – vocalist Curriculum Experience Phd Quant Resume Submit Tip Vitaes Online from USA, UK service offers 100% non-plagiarized custom written best essay, thesis, research paper, term paper, research proposal Mike Williams ( 650 Word Essay science lectures channel is making complicated things clear. We offer assignment help by providing detailed explanations and plentiful Eyehategod), guitarist/vocalist Scott Kelly (Neurosis), saxophonist/vocalist Bruce Lamont (Yakuza, Bloodiest) and programmer Sanford Parker (Buried at Sea) – have spread their bleak gospel of totalitarian industrial vehemence to audiences in the US and Europe. Their second offering, Know How to Carry a Whip, is bolder sound-wise and retains a very human, punk rock core with Williams’ sneer playing off Kelly’s gutturalism on “White Man’s Gonna Lose” and nearly goes goth in doing the same with Lamont in the later “When Push Comes to Shank,” but across the 45-minute span, the songs remain in the key of abrasion, and ultimately that’s what most unites them. As noisy as closer “Burn the Witness” gets, I can’t help but think of the acoustic, Lamont-led centerpiece “Visions Divide” as the bleakest moment of the record, twisting folkish conventions into a dystopian soundscape, but Williams’ spoken drug-poetry on “I was Never Good at Meth” provides stiff competition.

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Neurot Recordings

Antimatter, The Judas Table

The Judas Table

Lush in its arrangements and doling out extreme measures of melancholy across its 56 minutes, Antimatter’s sixth album, The Judas Table (on Prophecy Productions), brings sonic depth to bear in rich textures of electric and acoustic guitars, keys, and the strength-through-fragility vocals of remaining founder and songwriter Mick Moss. The group’s last offering, 2012’s Fear of a Unique Identity (review here), pushed them into fuller tones, and an early cut like “Killer” builds on that, but the crux of The Judas Table is in subdued and brooding pieces like “Little Piggy,” remorseful and seething in kind as it moves through an acoustic-led arrangement marked out by strings and a sense of grace. “Integrity” asks the question, “What’s the point if no one else has any?” and sets a depressive run through one of the record’s grader builds, but Antimatter are hardly contained to one style here, as the New Wave inflection on “Can of Worms” or the rumbling apex of highlight “Stillborn Empires” demonstrate.

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Prophecy Productions

Colossus, The Breathing World

colossus the breathing world

Not to be confused with their Swedish countrymen who operated under the same moniker and whose lineup included a post-and-pre-Candlemass Messiah Marcolin, Stockholm’s Colossus play a decidedly progressive blend of Peaceville-style doom and metal, the trio of guitarist/vocalist Niklas Eriksson, bassist Peter Berg and drummer Thomas Norstedt adding a near-immediate inflection toward the epic via Primordial-style vocal patterning on opener “Yehi Aour/Wanderers” that holds for much of their 48-minute sophomore outing, The Breathing World (on Perennity Records). “Darkling Root” and more so the chugging “Fuga Mundi” delve into blackened fare in the guitar, but it’s just one of an array of genres in Colossus’ arsenal and in the case of the latter, soon enough complemented by Opethian prog noodling and soulful vocalizing. These turns, which more often than not happen in an instant, are a great strength of The Breathing World, but would fall flat without the crisp, confident delivery the band provides leading to the grand sprawl and long fade of 10-minute closer, “The Silent City.”

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Colossus on Bandcamp

Bastard Lord, Bastard Lord

bastard lord bastard lord

One thing we’ve learned about Twin Earth Records thus far into the long-established label’s recent surge of activity is that it knows tone when it hears it. Thus comes treading Bastard Lord out of Buffalo, New York, whose four-song self-titled debut was initially self-released and remastered for a CD issue, rumble-fuzzing a murky Sabbath worship that oozes from the amps of bassist/vocalist David Braymiller and guitarist Mike Hermann – hard to tell at times in 13-minute opener and longest track (immediate points) “Cimmerian” where the one instrument ends and the other begins – and set to a suitable plod by Jeremy Coupe’s drumming. It’s little surprise when they pay homage to “Snowblind” in “Wormwood,” but the psychedelic edge in Braymiller’s vocals – drowned in effects, buried in the mix; both appropriately so – gives Bastard Lord a personality of its own the holds even into the faster closer “Into the Sea,” a Toner Low-style lysergic depth unflinching through that song and “Summoner” before it as Bastard Lord emerge from the mire with their intentions clear.

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Twin Earth Records

Monocluster, Monocluster

monocluster monocluster

One might be forgiven for entering into Monocluster’s self-titled, self-released debut album with an expectation for traditional stoner rock, between the band’s moniker and album cover – and if that’s what came through in playing the 35-minute, five-track outing, I very likely wouldn’t complain – but the German-language four-piece subtly veer into and out of spacier interludes in cuts like “Dantes Inferno” and “8 Stunden” and the later “Ich Atme” pushes even further along those lines, jamming out vast and echoing over a foundational bassline that holds the track together before it stops outright and resurfaces with Monocluster’s most righteous single nod. Centerpiece “Straße” demonstrates a touch of Colour Haze influence as well, but on the whole the Cologne four-piece seem headed in a different direction, and as the 10-minute closer “12 Minuten” ranges farther and heavier than everything before it, I’m only more intrigued to find out where they might end up. Heavy psych that’s not afraid to tighten up and make a more pointed impact when it feels one is needed.

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Monocluster on Bandcamp

Valley, Sunburst

valley sunburst

I have two reasons for writing a review of Valley’s Sunburst EP, and they are both ridiculously simple. Yes, the Swedish five-piece were featured in two podcasts (one here, one here) and mentioned in the roundup of 2015’s best short releases – however, reviewing Sunburst now gives me another excuse to put it back on and it gives me something to fall back to later when I’m praising the crap out of whatever they do next and want to link a past review. Simple reasons. If you haven’t yet heard the 2015 debut outing from the Stockholm post-heavy rock instrumentalists, basked in the warm, organic psychedelia of “Tunguska” and “Kiro” or the peaceful folk-jam of “Dream Shooter, Golden!” and the tense-and-release percussion and sample-topped progressive course of “Picture Puzzle Pattern Door,” then you have quite simply missed out. I’m sure plenty have and plenty more will liken it to a desert sound – in no small part because of the cover art – but the smooth melodicism goes beyond landscape here and is made to be appreciated regardless of climate or locale.

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Version Studio Records

Shatner, EP

shatner ep

An edge of Northeastern aggression is unmistakable at the core of Shatner’s 20-minute self-released six-track EP. Based in Boston, the tree-piece boasts guitarist/vocalist Jim Healey (Black Thai, We’re all Gonna Die), bassist/backing vocalist Jesse Sherman (We’re all Gonna Die) and drummer Rob Davol (Cocked ‘n’ Loaded), and so a touch of anger isn’t unexpected given the personnel – even Healey’s acoustic work has brooding tension underlying – but if “Special” and “Black Market Liver” are variations on an ongoing theme, they’re of consistent quality in terms of songwriting, and the Thin Lizzy cover “Bad Reputation” is positioned well just past the halfway point to add variety amid a slew of potent hooks. Not their first time working together, but Healey and Sherman’s voices complement each other well on “Dead in Your Eyes” and “Death Reheated,” and with the solid foundation that Davol provides throughout, Shatner’s EP is an encouraging start to what’s hopefully an ongoing development.

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Shatner on Bandcamp

Australasia, Notturno


Harvested, sometimes manipulated samples and synthesized textures permeate Notturno, the mostly-instrumental second album from Italian atmospheric project Australasia. Comprised solely of Gian Spalluto, it’s somewhat more surprising that songs like the cascading “Lumen” and “Kern” are able to conjure such full-band progressions, but layering was bound to be a factor one way or another in Australasia’s approach, so if it’s Spalluto’s vision at play, so be it. Sonically, the impression of much of the material – including the guest-vocalized centerpiece “Invisibile” – winds up somewhere between the dystopian ambience of Red Sparowes and the brighter aspirations of post-black metallers Alcest, but songs like “Haxo” and the closing title-track, a (mostly) solo piano piece, have a cinematic edge as well. Rather than play one side against the other, Spalluto brings them together in one overarching flow that engages conceptually and sonically throughout a nine-track/39-minute course that willfully refuses to acknowledge a line between post-rock and post-metal.

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Apocalyptic Witchcraft Recordings

The Moth Gatherer, The Earth is the Sky

the moth gatherer the earth is the sky

Synth ambience and distorted severity meet head-on with the second full-length from Swedish post-metallers The Moth Gatherer, The Earth is the Sky (on Agonia Records). Produced over a two-year span with Karl Daniel Lidén (Greenleaf, VAKA, etc.), it punishes intensely on “The Black Antlers” with no less underlying fluidity than it had on the quietly atmospheric “Dyatlov Pass” preceding, the four-piece of bassist/vocalist Alex Stjernfeldt, guitarist/vocalist/programmer Victor Wegeborn, guitarist Ronny Westphal and drummer Svante Karlsson finding a place sound-wise that swaps between peaceful and threatening, delving into extreme progressive metal and electronica in kind on “Attacus Atlas” while setting up the consuming, gradual push of 11-minute closer “In Awe Before the Rapture,” which seems in conversation with the synth of the earlier “Probing the Descent of Man” in creating a layered structure of sound, while also attempting to marry the various impulses displayed throughout. Familiar to a degree, but immersive in its bringing earth and sky together.

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Agonia Records

Super Witch, Super Witch has Risen

super witch super witch has risen

You might wonder just what kind of neighborhood it is that would pair “The House that Dripped Blood” next door to “House of Warlocks” – perhaps that street is on the “Island of Lost Souls” – but then you probably wouldn’t get the crux of Memphis heavy punk foursome Super Witch’s debut full-length, Super Witch Has Risen, which has tales of horror front to back, “Spaceship Cadillac” notwithstanding. The Tennessean outfit dip into garage grunge on “Night of the Hunter” and stomp out call and response and Melvins chug on on “The Need,” show some more patient swing on “Smash Your Own Face,” but it’s “Army of Werewolves” and the opening “Super Witch Has Risen” that tell the story of the band’s intent more than the semi-swirl of “Smash Your Own Face” or the all-the-way swirl of closer “With the Lights Out,” as satisfying as the closer is in pulling off a rare feat – psychedelic punk. Split between two recording sessions, there are some changes in sound throughout, but it would take a supernatural force to derail Super Witch from their underlying purpose.

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Super Witch on Bandcamp

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Antimatter Release New Single “Too Late”; Euro Tour Starts Next Week

Posted in Whathaveyou on March 21st, 2014 by JJ Koczan

Continuing to proffer mastery of the melancholic arts, UK-based Antimatter have released a new single this week called “Too Late” that, instead of following up on the full-band feel of 2012’s Fear of a Unique Identity long-player (review here), turns back to the intimate and contemplative folk experimentalism of past outings like 2007’s Leaving Eden, finding a midpoint between the two of lush textures and resonant, subdued melodies. Its six minutes are a showcase for arrangement nearly as much as songcraft.

That’s fitting enough, since Antimatter will begin a European tour next week supported by Leafblade on which Moss and Company will play Leaving Eden in its entirety. Aside from shared branch-occupation on the well-populated Anathema family tree, the two acts make for a suitable pair, each having a distinct but deeply atmospheric approach to progressive folk and moodier alternative rock. Leaving Eden has become one of Antimatter‘s signature works, striking a balance between melody and ambience that Moss continues to develop on “Too Late,” which you can hear below courtesy of the Antimatter Bandcamp.

You need info? The PR wire’s got info:

The new Antimatter single ‘Too Late’ is now available to stream from

The song harks back to the ‘Planetary Confinement’ & ‘Leaving Eden’ days.

Also, in other news …

Antimatter will be touring Europe performing the ‘Leaving Eden’ album in its entirety with a full electric band.

Dates are –
March 28th – ‘Vakaris’, Vilnius, Lithuania
March 29th – ‘Boerderij’, Zoetermeer, Netherlands
March 30th – ‘Rock Café St Pauli’, Hamburg, Germany
April 1st – ‘Alchemia’. Krakow, Poland
April 2nd – ‘Escape’, Vienna, Austria
April 3rd – ‘RudeBoy’, Bielsko-Biala, Poland
April 5th – ‘Potva’, Prague, Czech Republic
April 6th – ‘Thearter’, Berlin, Germany
April 8th – ‘Ucho’, Gdynia, Poland
April 9th – ‘Progresja’, Warsaw, Poland
April 10th – ‘Od Zmierzchu Do Switu’, Wroclaw, Poland
April 11th – ‘Geyserhaus’, Leipzig, Germany
April 12th – ‘Decadance!’, ‘Gent’, Belgium

Tickets are available for all dates from the TOURS page of

Antimatter, “Too Late” (2014)

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Antimatter, Fear of a Unique Identity: Overcoming Phobias

Posted in Reviews on December 28th, 2012 by JJ Koczan

The longest track on Antimatter‘s Fear of a Unique Identity, “Firewalking” tops eight minutes and uses that time to offer some glimmer of hope from the head-down melancholia in which so much of the rest of the album revels. Fear is the British project’s sixth studio outing — there’s also been a best of and two live records — and continues their relationship with Prophecy Productions, a label which has become a haven for depression conveyed via musical gorgeousness, lush melody and introspective lyrics. In the case of Antimatter‘s latest, we get all of the above.

With a total nine tracks/49 minutes, it’s also an album that was bound to be a surprise — it’s Antimatter‘s first LP in five years since 2007’s Leaving Eden and the second since Duncan Patterson left the band. The multi-instrumentalist, also ex-Anathema, was formerly a defining presence in Antimatter alongside guitarist/vocalist Mick Moss, playing a central role in the ambient/electronica vibing of the band’s earliest albums, Saviour (2001) and Lights Out (2003). With 2005’s Planetary Confinement, Antimatter began to move toward a more organic, intimate style, and Patterson went on to release material with another band, Íon, that was in a roughly similar earthy vein before getting started with the darker project Alternative 4 (named for the last Anathema album on which he appeared), who made their full-length debut with 2011’s The Brink.

Moss, meanwhile, took the reins of Antimatter and has proven he’s capable of carrying the band in terms both of songwriting and performance. On Leaving Eden, he brought in Anathema‘s Danny Cavanaugh for the sessions and subsequent touring, also sitting in with Cavanaugh‘s Leafblade side-project. You’d need a chart to note every connection between these players, but one way or another, it mostly leads back to Anathema, except in Moss‘ case as he was never a member of the band. On Fear of a Unique Identity, however, Antimatter is perhaps the most separate from the Anathema lineage that they’ve ever been. Sure, the wisping ebow guitar leads in “Wide Awake in the Concrete Asylum” bear some sonic resemblance to Anathema‘s mid-period downer glories, but Moss is firmly in control of the band’s sound and quick to distinguish and make a mark of his own within these songs.

Primarily, he does this vocally, with a stunningly emotive and melodic delivery that’s adaptable to whatever happens to be going on musically at the time, but really, it’s the music itself on Fear of a Unique Identity that’s going to surprise first-time listeners or anyone who’s followed the band since they got going. It’s heavy. From the beginnings of opener “Paranova” to the Euro-doom stomp of “The Parade” and all the distorted tonality between, Antimatter in 2012 have more in common with Katatonia than with Anathema‘s newfound progressive joys. The additional vocals of Vic Anelsmo, periodic violin of David Hall and drumming of Colin Fromont give a full-band feel to Moss‘ singing, guitar, bass, piano and programming, and yet Antimatter retains an intimate, personal sensibility through their dynamic approach, here soft and contemplative, as on closer “A Place in the Sun,” and there unremittingly dark and threatening, as on centerpiece “Here Come the Men,” which marks Moss and Anselmo‘s best duet of the record.

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