A glance at a record’s list of songtitles often offers an indication of its type of music. The Antlers’ ‘Blight’ is deceptive in that respect. In addition to the title track, there are songs called ‘Carnage’, ‘Calamity’ and ‘A Great Flood’ which suggests that they could be accompanied by some brutal, pummelling Napalm Death type obliteration. That could not be further from the truth. While the themes covered by Peter Silberman’s nine songs are bleak (humanity’s destructive tendencies), his approach is considered and thoughtful. The lyrics pin blame on the ease of consumer convenience rather than wilful evil while the music has plenty of light within. Songs will often start with fingerpicked guitar or a gently enticing piano melody and although they will usually include unexpected developments, these are rarely abrasive.
Opening song, ‘Consider The Source’, is a well-developed pointer to the contents. Evolving over a leisurely near six minutes, Silberman’s voice is initially not much more than a whisper over beguiling piano and a gentle, steady beat. Examining his own life, he finds it littered with leaky batteries and broken trays, acknowledging “every bargain has a hidden cost” before going on to question “is it enough to add to cart / with buyer’s remorse?” As Silberman goes on to sketch a convenience meal and a “tired turkey in a crowded cage”, his voice gains volume and soulfulness.
Commencing with a ticking clock and fingerpicking guitar, ‘Pour’ changes course midway becoming quietly probing electronica. From its opening lines about “Solvents and paints / poured down the drains / there were complaints / only forty years late”, it portrays destruction caused in ignorance. ‘Carnage’ maintains the theme, a roadkill ballad borne out of neglect, humans unthinkingly sweeping aside other creatures. Musically, it is extraordinary, building from a pulsing beat and an enticing keyboard motif before Silberman’s Telecaster guitar bursts through to produce a discordant rush.
Part of the album’s charm is the way in which Silberman is prepared to grapple with contradictions. On the title track which begins in a minimalist way with an off-beat pulse before the beats become frenetic, he portrays himself as someone seeking a product “shipped in a day / oceans away” while protesting “I’m not a bad guy / I do the best I can.” This is an effective approach, a way of allowing the listener to question their own choices. Certainly, it makes this writer think about the difficulties of striking a balance between his policy of supporting artists and encouraging rampant consumerism. ‘Something in the Air’ could not be mistaken for a cover of Thunderclap Newman’s 1969 chart topper. Whereas the original hit was a celebration of revolution being in the air, Silberman’s wistful falsetto is cautioning “keep your window closed today” to a creepily gentle piano melody that is later disturbed by a blast of warped electronica.
At over seven minutes long, the album’s longest song is ‘Deactivate’, a reflective blend of fingerpicking and electronic ripples that sketches a dystopian near future of “deflated bodies / empty meat” before issuing an ultimatum, “either save this place / or opt out and deactivate.” It ends with what could be construed as the sound of a world ending. ‘Calamity’ sees his voice starkly out front with minimal backing asking, “who will look after what we left behind?” before ending with a martial drum roll. The final vocal track, ‘A Great Flood’ has further questions being asked: “Will we be forgiven”, Silberman’s voice exposed, with added echo and minimalist piano backing. ‘Blight’ ends with the melancholic instrumental ‘They Lost All Of Us’, its piano refrain eventually giving way to birdsong and waves.
The album feels especially timely. This review is being written on the day the British government approved a second runway at Gatwick. An obsession with economic growth that also sees a determination to push ahead with AI, which consumes huge amounts of energy, rather than attempt to distribute wealth more equally is indicative of a world that seems in denial about the damage it is causing. ‘Blight’ shows the value of gently probing, drawing out connections and contradictions. Such is its consistency of lyrical themes that it can reasonably be treated as a concept album. However troubling the issues that they cover may be, pairing these thoughts with imaginative arrangements and music of minimalist beauty works a treat.
The Antlers: Blight – Out 10 October 2025 (Transgressive Records)
Antlers – Carnage (Official Lyric Video)
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
