The Antlers are an indie rock band currently based in Brooklyn, New York, fronted by Peter Silberman. Initially, The Antlers was a solo project created by vocalist and guitarist Peter Silberman immediately after he had moved to Brooklyn, New York, in 2007 where he had isolated himself from family and friends. Silberman wrote the first album, “In the Attic of the Universe” by himself and under his own name. Afterwards, he recruited Lerner and Cicci, becoming a collaborative group. The band recorded two EPs: ‘Cold War’ and ‘New York Hospitals.’ Silberman’s collection of songs (which was mentioned as an ‘elegy for his planned disappearance’) would later become a full-length album titled “Hospice” and would feature an epic storyline, telling the story of a man losing a loved one to cancer and having to witness her death first-hand. The album was independently released by the band in March of 2009, selling an apparently overwhelming number of copies, later selling all of their stock and had to produce more. The band later commented that they had “bit off more than they could chew.” The album received critical praise for both its narrative and musicianship and has since been listed on several ‘Album of the Year’ lists. The band later signed with New York-based French Kiss Records. The label released a remastered “Hospice” on August 18, 2009

Peter Silberman - vocals, guitar
Michael Lerner - drums, percussion
Darby Cicci - keyboards, trumpet, bowed banjo

In one particular aspect, this album has been one of the most difficult to review in 2009. HOSPICE has been widely acclaimed following its re-released, re-mastered version appearing this year, after its 2008 limited run sell-out. The subject matter (as described above) and therefore the importance attached to hearing and understanding the album’s lyrical content was the problem for me. Much of it in the first half of the album is difficult to hear which frustrated the life out of me, as I dashed from one audio set-up to another to check that it was the CD’s production/mastering to blame, and not my hearing or equipment. After then listening to the album several times I got the feeling that the intention of the writer and band was to gradually reveal the whole sad tale incrementally, and by track five clarity had improved dramatically.

The album reminds me of the classic Pedro Almodóvar movie ‘Talk To Her’ (‘Hable Con Ella’), the story of 2 men and their hospitalised, comatose lovers. The ‘Prologue’ opens the album with a fog of electronic sounds that transforms into solemn ecclesiastical organ notes and angelic backing vocals. This then seamlessly joins the second track, ‘Kettering’, with a relentless piano refrain and a vocal that’s frustratingly difficult to hear (shit, no sleeve notes…). The sounds build to a dramatic, crashing crescendo before tailing off and fading into the distance. ‘Sylvia’ is sonically dramatic with what can best be described as a fog descending to almost hide the song’s lyrical content as Silberman’s voice pleads and soars to incredible heights. Then, after a passage complete blazing brass, the fog suddenly lifts to (almost) fully reveal the song’s closing vocal. ‘Atrophy’ is a stripped-down beauty but there are sounds-off that I wished were not there as they too cloud the issue, although some lyrics are decipherable.

Then near-total clarity! ‘Bear’ has the celebratory sound of twinkling keys, but is brought down to earth with the sad reality of the situation: “All the while I know we’re fucked, and not getting un-fucked soon.” Silberman has raided the Flaming Lips larder in no uncertain way with this tune, but it works in conveying a false and desperate sense of optimism. ‘Thirteen’ opens with a two-minute instrumental/electronic intro which, for me, is surplus to requirements. Silberman’s voice then enters for a matter of moments with the most fragile of falsettos just before the song’s conclusion. Not sure at all about this one… ‘Two’ comes in loud and clear but I can’t help feeling that I’ve heard this song before, or certainty something very close to it (my memory escapes me). That said, it’s a solid song that rattles along with a wonderful set of lyrics (”you say no-one can fix it for us, no-one can, you say that no-one listens, no-one understands, you say there’s no open doors, no way to get through, there’s no other witnesses just us two…” It’s another despairing and tension-filled leap into the dark and one that makes a tight, emotional connection with the listener.

With ‘Shiva’ arrives an element of calm and respite, while ‘Wake’ permeates with the sadness of impending final departure with its wistful solo and multi-layered vocals. Finally ‘Epilogue’ closes the story with acoustic guitar as final farewells are made, and Silberman’s voice reaches new emotional heights that remind me of Jeff Buckley’s finest vocal moments on GRACE.

HOSPICE ranks as one of the best-reviewed albums of 2009, so why have I struggled with it? Perhaps because production gets in the way of full lyrical comprehension and emotional connection; perhaps because stylistically and sonically it is too close to the past work of other acts (and NOT Arcade Fire which many reviewers have cited). Emotionally, it’s a tug of war when one moment you’re pushed and the next moment pulled. Every minute of every day someone, somewhere is subjected to the torture of loved ones (of all ages) suffering from Cancer; being lifted by hope one moment and then dropped like a stone by stark, cruel reality the next. It’s the roller coaster ride from hell, but one that can inspire as well as sadden. I suspect the album’s early success could have been due to its theme hitting many home runs - at its heart is a story well-told and, arguably, one that is all too rarely communicated through music. Stripped of some of its sonic baggage, further down to its acoustic roots, it could have been a brilliant album.

4/5