LEAVING EDEN

Mick Moss thought this would be the last Antimatter's album to ever be recorded. After Antimatter's third LP, his bandmate Duncan Patterson (ex-Anathema) had left the band for good to pursue new musical adventures. Moss felt this would mean the end of the road for his beloved band, and wanted to give Antimatter the best possible send off, pouring his heart into the recording of this, supposedly final, full-length. In the end, it turned out it was not yet curtain call for the band, which is still alive and kicking15 years later, - but, boy, what an absolute triumph of an album Leaving Eden is!

There are several reasons why this record holds such a special place in my heart. First, the songwriting is top-notch. Compared to previous albums, Moss' compositions are more developed and fleshed out, combining his natural singer-songwriter acoustic sensibilities with sudden surges of electric rock and metal that are further enhanced by the stunning lead work of Anathema's guitarist Danny Cavanagh. Traces of doom and gothic metal emerge in the slower, gloomier pieces, and beautifully coexist with those Pink Floyd and Roger Waters influences that have been a constant in Antimatter's sound. The combination of acoustic and electric moments ensure Leaving Eden is a fantastically dynamic album, constantly challenging the listener with shifts in volume and intensity and triggering a strong emotional involvement on her part.

The emotional rollercoaster is further enhanced by the beautiful, heart-rending melodies that are passionately sung by Moss throughout the album. The raw pain in his voice is mesmerizing and lends the songs a relatability that is impossible to ignore. Moss has also considerably grown as a singer on this record relative to the earlier Antimatter's albums. I do not know if it is his way of singing or the way he has learned to record his vocals (or both), but his voice sounds fuller and more in control compared to his performance on Antimatter's earlier LPs. His powerful vibrato is stirring, his lyrics dark and introspective, and his melodies soberly melancholy - ensuring a dramatic, at times even claustrophobic, listening experience.

There is no weak song on the album, which flows splendidly from start to finish and feels much shorter than its 50 minutes of duration. Some tunes are among the best Moss has ever penned in his whole career. Opening track "Redemption" is a classic, with its moody acoustic intro and downcast lead guitar motif, finally erupting in an emotional Gilmouresque solo. On "Ghosts" Moss revives his collaboration with the talented Rachel Brewster, whose mournful violin is a perfect match for Moss' sombre acoustic guitar arpeggios and melancholy lyrics. Placed in the middle of the LP, "Conspire" and "Leaving Eden" are a formidable pair of tracks, beautifully juxtaposed against one another. The former is a beautiful acoustic piece where a quaint, fingerpicked acoustic guitar arpeggio lays a splendid foundation for Brewster's violin and Moss' powerful lyrics and grief-stricken vocals. The title-track stands in stark contrast to "Conspire", with its raw electric distortion and doomy pace, which eventually culminate in another stunning solo by Danny Cavanagh. The album closes strongly too, with "Fighting for a Lost Cause", another dramatic acoustic tune where Moss' fingerpicking and gloomy vocals make for another irresistible journey into darkness.

From start to finish, Leaving Eden is a spectacular soundtrack to dark days and existential woes. Written by Moss in the midst of a deep depression, the music on this album feeds off a kaleidoscope of dark thoughts, but yet it is strangely comforting, as Moss' pain speaks to each and every one of us, making us feel seen and not alone in our human experience. This is one of those albums that are so emotionally raw and relatable that eventually grows on you to become more than just a piece of music; but a companion for rough times, always there to share your sadness when you most need it, darkly soothing and reassuring.