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Definitely a step out into the great beyond from what we’re used to from The End… and if this is really “The End” I trust we’ll have no trouble making our final peace.  

Early moments indicate an Anathem-ic symmetry, nearly duplicative of the ambient closeness of said band’s later runs, distinguished by languid female vocals to further sensuousness and depress earlier notions of comparability — and then one reads the press release and the ties are indeed binding.  

Former Anathema bassist Duncan Patterson created Antimatter in ’98 along with multi-instrumentalist Michael Moss, evidently to further explore previously sought after terrain on the lighter scope of ambient music, going it a step richer and more passionate.  

The female duo of Michelle Richfield and Hayley Windsor share the singing duties, with an occasional aside from Moss, who trades with Windsor for the standout “The Last Laugh,” and while neither can boast one outstanding trait or distinguishability over the other, their soulful presence adds the extra depth of emotion, that “dark tranquility” if you will, of Antimatter’s element.  

On the off occasion, as with track five, “God Is Coming,” the music takes a dub turn, accentuating a programmatic persona, though in most cases the mood is soft, somber, sensual, and “Angelic” as documented by the song, a beautifully sung ballad that begs for attention inasmuch as spiritual affirmation.  

The mood is dark, generally desperate, and desirous, rooted deeply in new age and percussive parallels, autumnally embraceable, mildly idyllic, calm with an occasional conflict — think in terms of an orchestral-like blend of Theatre of Tragedy or The Gathering, with a Goth-like presence of a Lycia and progressive moods of the all encompassing newcomer, Tapping The Vein.