I think it’s fair to say that Antimatter have been finding their way since forming about 15 years ago. “The Judas Tales” is their sixth album. Classic rock, gothic, melancholic art rock – however you want to describe their style, there has been an evolution as you’d hope and the band has received plenty of acclaim along the way. The essence of “The Judas Tales” is that it is a collection of songs, which reflect a transformation of a restless mood beset by betrayal to one of inner peace.
The gloom remains and musically, lyrically heavy pieces of mainly soft rock are interwoven with acoustic and symphonic sections. The band uses sound techniques and echoes to good effect on the typically reflective “Miss Piggy” and the opener “Black Eyed Man”. Dark, deliberate and gloomy, “Black Eyed Man” is impressive on account of its thoughtfulness. The singer’s voice is expressive and shaky, suggesting a vulnerability which seems to be part of all this. His voice reminds me a lot of the singer from Icehouse, who achieved fame in the 1980s. Thematically, it’s more intense than that and tracks like “Comrade” and “Hole” are more noteworthy for their acoustic introspection, which smacks more of Ralph McTell. “Hole” in fact has a spiritual quality. There’s variation as “Killer” contrasts with “Comrade” and “Hole” thanks to its more new wave sinister atmosphere. Hypnotic drum patterns are used on “Integrity” and “Can of Worms” with occasional outbursts and expansions into rock-driven emotive scenarios. A lush introduction signals the title track, which follows the now familiar reflectively gloom-laced lyrical pattern, accompanied by the calm drum beat, suggestive guitar and faint symphonic sound. “Goodbye” completes the cycle as you’d expect, overshadowing even the preceding dark and gloomy takes.
“The Judas Tales” is a nice album to listen to and musically accomplished but I personally felt bogged down by its melancholic intensity. For others, this will be its strength.
(6/10 Andrew Doherty)
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