Review by Alex on July 18, 2019.

Bones, a band formed and based in the United States of America, carve deeper their signature within the cold surface of Chicago's death metal underbelly. With Diseased being the band's 3rd release, they strive to expand their influence and reach within the underground. Bones on Diseased play a blend of styles that to me, can either prove successful or hazardous to the final output, if not managed correctly. Thus, this glassy form of avant-garde death metal tries to push the bar and boundaries of the genre, which is fine; however, doing such often comes with consequences. The music here is being morphed with different genres in a conspicuous fashion; I say that because the obvious inclusions are presented obtrusively. There’s black metal, sludge metal, death/doom, thrash, crust punk and hardcore. In opposition to hinting, Bones delivers a bare-faced thrust-to-the-gut approach by giving the respected genres abundant spotlight. The risk here is the music can easily divert from pleasure to displeasure, due to so many styles being meshed without warning. On Diseased it’s a bit of both; mixing the genres proved to be enjoyable, but only for so long, as the formula to Bones’ chasm of uncertainty left the death metal aspect a bit underwhelming. The record still stands as a decent unconventional take on the genre but loses adhesion towards the end. 

The first indication Diseased was going to be a worthwhile record, occurred on the opening track, 'Blood, Diarrhea and Tears'. Easily the best entry on the record due to its high efficacy of combining black metal with death metal and crust; and with the aid of some melody, the song showed a fluency in transitions. I was bidding Diseased would be offering more of that, and it did with ‘Mass Graves’ through ‘Stench of the Deceased’ that answered the request with considerably more confidence. However, the strong foundation built by the aforementioned began to erode rapidly, as the composition structures and components used in the development of the material on Diseased crumbled. Like a ball of sand being folded in the palm of a hand, at first, seemingly firm, but begins to gradually lose texture and eventually decompose as the primary components are compromised by natural atmospheric forces and pressure of the squeeze.  

This crumble began with ‘No One Matters’ that tried to move too quickly in fitting multiple styles into a track that was barely over 2 minutes. By doing this, it appeared irredeemably messy; not only ruining the actual death/crust metal, but the other elements forced into the mix. ‘Down’ would try to resuscitate the weakening body of Diseased to which it did do to an extent but would suffer from problems of its own towards the closing moments through a minute of seemingly disorientated filler. ‘Boozer’ appeared to be a blur of random noises which also plagued ‘Crucifer’ despite its commendable hint at early Celtic Frost. 

'The Future is Now' would try to reclaim some of that glory presented on the 1st half of Diseased by revisiting and successfully implementing the more favorable qualities of that period. But again, it would leave an impression of hastiness on the listener, as though scurrying to cover blemishes while putting the finishing touches on an item. Despite being a good record, Diseased produced a sonic friction which resulted from destructive and convalescent forces pushing against each other and would eventually go on to define the album in its final state. I enjoyed the record but wished there had been better music to sustain the momentum built. Diseased will still be a great album to many; I may partially agree; however, the flaws are too noticeable to be ignored. Flawed, but still a good record. 

Rating: 7 out of 10                        

Review by Krys on August 6, 2001.

If playing in Morbid Angel and Hate Eternal wasn’t enough, Erik Rutan started his own recording studio (Dimensional Sound Studios), became a producer and decided to start a next project called Alas. When do you sleep, man??? Actually... I think that because of lack of sleep we have the weirdest, most unique dark and atmospheric record that’s out there.

No wonder Erik himself called this album “the most deepest and difficult record yet”. Morbid Angel or Hate Eternal are the melodic, easy listening bands compared to Alas and “Absolute Purity” is nothing you might expect from it. If because of Erik’s correlation with Morbid Angel and Hate Eternal you think you’d get some quality death metal, forget about it. Or if you remember Martina Astner’s voice from Therion and you were awaiting beautiful harmonic melodies, forget about that too.

This is the most ‘disharmonic’ piece of music I’ve heard to date. There are parts, actually a lot of them, where Martina is singing however she wants without even listening to Erik’s guitar and vice versa. Sounds interesting? Hell yeah, first time I played this CD in my player I thought I got a bad copy with unfinished arrangements but amazingly it all started to make sense with every spin. This man is simply incapable of writing a bad music. Complex and technical riffs combined with Martina’s musically un-adhesive, but still sweet voice, may sound abnormal to many fans but everyone into the dark side of metal will love it.

And one more thing, “Absolute Purity” is not something you just start playing while you go do something else, you have to really concentrate while listening to this album. Even better, put on the headphones and let them take you to your deepest and darkest parts of your mind. You won’t regret it.

Bottom Line: Can you imagine that with all those aberrant and unmatching music layers I remember those melodies and I even caught myself singing one? Weird.

Ratting: 8 out of 10

Review by Alex on July 18, 2019.

Bones, a band formed and based in the United States of America, carve deeper their signature within the cold surface of Chicago's death metal underbelly. With Diseased being the band's 3rd release, they strive to expand their influence and reach within the underground. Bones on Diseased play a blend of styles that to me, can either prove successful or hazardous to the final output, if not managed correctly. Thus, this glassy form of avant-garde death metal tries to push the bar and boundaries of the genre, which is fine; however, doing such often comes with consequences. The music here is being morphed with different genres in a conspicuous fashion; I say that because the obvious inclusions are presented obtrusively. There’s black metal, sludge metal, death/doom, thrash, crust punk and hardcore. In opposition to hinting, Bones delivers a bare-faced thrust-to-the-gut approach by giving the respected genres abundant spotlight. The risk here is the music can easily divert from pleasure to displeasure, due to so many styles being meshed without warning. On Diseased it’s a bit of both; mixing the genres proved to be enjoyable, but only for so long, as the formula to Bones’ chasm of uncertainty left the death metal aspect a bit underwhelming. The record still stands as a decent unconventional take on the genre but loses adhesion towards the end. 

The first indication Diseased was going to be a worthwhile record, occurred on the opening track, 'Blood, Diarrhea and Tears'. Easily the best entry on the record due to its high efficacy of combining black metal with death metal and crust; and with the aid of some melody, the song showed a fluency in transitions. I was bidding Diseased would be offering more of that, and it did with ‘Mass Graves’ through ‘Stench of the Deceased’ that answered the request with considerably more confidence. However, the strong foundation built by the aforementioned began to erode rapidly, as the composition structures and components used in the development of the material on Diseased crumbled. Like a ball of sand being folded in the palm of a hand, at first, seemingly firm, but begins to gradually lose texture and eventually decompose as the primary components are compromised by natural atmospheric forces and pressure of the squeeze.  

This crumble began with ‘No One Matters’ that tried to move too quickly in fitting multiple styles into a track that was barely over 2 minutes. By doing this, it appeared irredeemably messy; not only ruining the actual death/crust metal, but the other elements forced into the mix. ‘Down’ would try to resuscitate the weakening body of Diseased to which it did do to an extent but would suffer from problems of its own towards the closing moments through a minute of seemingly disorientated filler. ‘Boozer’ appeared to be a blur of random noises which also plagued ‘Crucifer’ despite its commendable hint at early Celtic Frost. 

'The Future is Now' would try to reclaim some of that glory presented on the 1st half of Diseased by revisiting and successfully implementing the more favorable qualities of that period. But again, it would leave an impression of hastiness on the listener, as though scurrying to cover blemishes while putting the finishing touches on an item. Despite being a good record, Diseased produced a sonic friction which resulted from destructive and convalescent forces pushing against each other and would eventually go on to define the album in its final state. I enjoyed the record but wished there had been better music to sustain the momentum built. Diseased will still be a great album to many; I may partially agree; however, the flaws are too noticeable to be ignored. Flawed, but still a good record. 

Rating: 7 out of 10                        

Review by Jack on October 26, 2002.

““Saviour” is an experimental dark orchestral ambient electronic dub that can be referenced to a sinister Portishead meets a more haunting Anathema” (The End Records, 2002). If you can glean some light from this than good luck to you, and you needn’t read my review as you are already off the record store in search of this grim work, but for the rest of you please read on...

After having “Saviour” for well over a month, I am still not overly sure what to make of it. It doesn’t sit very comfortably with me for the entirety of the 11 tracks (two bonus acoustic tracks), however that is not to say that Antimatter have put out a bad album, for that would be a silly assumption to make. “Saviour” is an album that makes ‘evil’ music weep in a way it has never done before. ‘Haunting’ is a very apt term to describe the music of Antimatter, yet at the same it is also ‘beautifully haunting’, because Antimatter is a band based around atmosphere and minimalist music arrangements. No bombastic riffs, no obscure drum poundings; just pure atmosphere and class. Nothing more, nothing less.

“Saviour” creates the dark atmospheres and auras that scores of symphonic black metal bands would dedicate their black souls to Satan in order to achieve just a whiff of.

Bottom Line: Maybe the reason “Saviour” doesn’t sit terribly well with me is because there is just something unnatural about it. It eats away at me. It is eerie, yet majestic. Undeniably, Antimatter is a class act, and “Saviour” is testament to their ability. Worth checking out for the atmosphere, if nothing more.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 8
Originality: 7
Overall: 7

Rating: 8 out of 10

Review by Jack on October 26, 2002.

““Saviour” is an experimental dark orchestral ambient electronic dub that can be referenced to a sinister Portishead meets a more haunting Anathema” (The End Records, 2002). If you can glean some light from this than good luck to you, and you needn’t read my review as you are already off the record store in search of this grim work, but for the rest of you please read on...

After having “Saviour” for well over a month, I am still not overly sure what to make of it. It doesn’t sit very comfortably with me for the entirety of the 11 tracks (two bonus acoustic tracks), however that is not to say that Antimatter have put out a bad album, for that would be a silly assumption to make. “Saviour” is an album that makes ‘evil’ music weep in a way it has never done before. ‘Haunting’ is a very apt term to describe the music of Antimatter, yet at the same it is also ‘beautifully haunting’, because Antimatter is a band based around atmosphere and minimalist music arrangements. No bombastic riffs, no obscure drum poundings; just pure atmosphere and class. Nothing more, nothing less.

“Saviour” creates the dark atmospheres and auras that scores of symphonic black metal bands would dedicate their black souls to Satan in order to achieve just a whiff of.

Bottom Line: Maybe the reason “Saviour” doesn’t sit terribly well with me is because there is just something unnatural about it. It eats away at me. It is eerie, yet majestic. Undeniably, Antimatter is a class act, and “Saviour” is testament to their ability. Worth checking out for the atmosphere, if nothing more.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 8
Originality: 7
Overall: 7

Rating: 8 out of 10

Review by Jack on October 26, 2002.

““Saviour” is an experimental dark orchestral ambient electronic dub that can be referenced to a sinister Portishead meets a more haunting Anathema” (The End Records, 2002). If you can glean some light from this than good luck to you, and you needn’t read my review as you are already off the record store in search of this grim work, but for the rest of you please read on...

After having “Saviour” for well over a month, I am still not overly sure what to make of it. It doesn’t sit very comfortably with me for the entirety of the 11 tracks (two bonus acoustic tracks), however that is not to say that Antimatter have put out a bad album, for that would be a silly assumption to make. “Saviour” is an album that makes ‘evil’ music weep in a way it has never done before. ‘Haunting’ is a very apt term to describe the music of Antimatter, yet at the same it is also ‘beautifully haunting’, because Antimatter is a band based around atmosphere and minimalist music arrangements. No bombastic riffs, no obscure drum poundings; just pure atmosphere and class. Nothing more, nothing less.

“Saviour” creates the dark atmospheres and auras that scores of symphonic black metal bands would dedicate their black souls to Satan in order to achieve just a whiff of.

Bottom Line: Maybe the reason “Saviour” doesn’t sit terribly well with me is because there is just something unnatural about it. It eats away at me. It is eerie, yet majestic. Undeniably, Antimatter is a class act, and “Saviour” is testament to their ability. Worth checking out for the atmosphere, if nothing more.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 8
Originality: 7
Overall: 7

Rating: 8 out of 10

Review by Jack on October 26, 2002.

““Saviour” is an experimental dark orchestral ambient electronic dub that can be referenced to a sinister Portishead meets a more haunting Anathema” (The End Records, 2002). If you can glean some light from this than good luck to you, and you needn’t read my review as you are already off the record store in search of this grim work, but for the rest of you please read on...

After having “Saviour” for well over a month, I am still not overly sure what to make of it. It doesn’t sit very comfortably with me for the entirety of the 11 tracks (two bonus acoustic tracks), however that is not to say that Antimatter have put out a bad album, for that would be a silly assumption to make. “Saviour” is an album that makes ‘evil’ music weep in a way it has never done before. ‘Haunting’ is a very apt term to describe the music of Antimatter, yet at the same it is also ‘beautifully haunting’, because Antimatter is a band based around atmosphere and minimalist music arrangements. No bombastic riffs, no obscure drum poundings; just pure atmosphere and class. Nothing more, nothing less.

“Saviour” creates the dark atmospheres and auras that scores of symphonic black metal bands would dedicate their black souls to Satan in order to achieve just a whiff of.

Bottom Line: Maybe the reason “Saviour” doesn’t sit terribly well with me is because there is just something unnatural about it. It eats away at me. It is eerie, yet majestic. Undeniably, Antimatter is a class act, and “Saviour” is testament to their ability. Worth checking out for the atmosphere, if nothing more.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 8
Originality: 7
Overall: 7

Rating: 8 out of 10

Review by Jack on October 26, 2002.

““Saviour” is an experimental dark orchestral ambient electronic dub that can be referenced to a sinister Portishead meets a more haunting Anathema” (The End Records, 2002). If you can glean some light from this than good luck to you, and you needn’t read my review as you are already off the record store in search of this grim work, but for the rest of you please read on...

After having “Saviour” for well over a month, I am still not overly sure what to make of it. It doesn’t sit very comfortably with me for the entirety of the 11 tracks (two bonus acoustic tracks), however that is not to say that Antimatter have put out a bad album, for that would be a silly assumption to make. “Saviour” is an album that makes ‘evil’ music weep in a way it has never done before. ‘Haunting’ is a very apt term to describe the music of Antimatter, yet at the same it is also ‘beautifully haunting’, because Antimatter is a band based around atmosphere and minimalist music arrangements. No bombastic riffs, no obscure drum poundings; just pure atmosphere and class. Nothing more, nothing less.

“Saviour” creates the dark atmospheres and auras that scores of symphonic black metal bands would dedicate their black souls to Satan in order to achieve just a whiff of.

Bottom Line: Maybe the reason “Saviour” doesn’t sit terribly well with me is because there is just something unnatural about it. It eats away at me. It is eerie, yet majestic. Undeniably, Antimatter is a class act, and “Saviour” is testament to their ability. Worth checking out for the atmosphere, if nothing more.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 8
Originality: 7
Overall: 7

Rating: 8 out of 10