I used to have a little personal account with close friends, but I’ve rejected it because I’ve found I was substituting a real social life with an online social life. Moss: Social networking is something I’ve rejected over the last couple of years. They’ve probably never met a third of these people in real life. On top of that, if you have one or two people you can call good friends, you’re a rich man.ĭead Rhetoric: People value themselves by how many friends they have on Facebook. I’m going to hang around with the dudes and get stoned and try to fool around with girls.” Then you spend a few decades doing that and you realize, you’ve got a good family. Outside of my family…as I’ve got older, it’s like when I was a teenager, I was like, “Fuck family. I have people who I feel are close to me. Moss: I don’t even know what a “circle of friends” is anymore. Moss: I have a large circle of acquaintances.ĭead Rhetoric: There’s an obvious difference between friends and acquaintances. My usefulness had run out.ĭead Rhetoric: Do you have a small circle of friends? I had a wonderful group of friends at one point and they just disappeared. Moss: People can just…it’s like I’m on a sinking ship sometimes and that’s what “Comrades” is about. ![]() That’s the idea behind the album – it’s helping me to identify certain character types.ĭead Rhetoric: I think we all know someone like in “Little Piggy” or “Comrades.” I’ve been getting bummed out by this tag-team of people for the last quarter of a century. There will be one person bumming me out, then they’ll disappear, then someone else will come along and bum me out for a few months. Moss: I’d say for the last 25 years, there’s been at least one person…it’s like a tag-team. ĭead Rhetoric: A lot of the album’s lyrical content is about people and how they let you down, etc. It was largely absent in the first albums where I was basically having a moan. So there’s a lot of sociology that I’ve stuck in. I read sociology I’m not an avid reader of it, and I don’t go crazy, but I like to read from time to time and it puts my mind at ease in regard to things I’ve been thinking about how people behave.ĭead Rhetoric: Knowing that you’re not alone. I’m writing about personal experiences, but at the same time, there’s a lot of sociology in there. A song like “Integrity,” it’s quite obvious. But I do it in a cryptic way, unless I want to drive the message home. I’ve been writing since 1995, so it’s not difficult to put personal things into rhyme and verse. Moss: That’s all I’ve been doing since the last 20 years. Is it difficult to put yourself out there like this? Not to say your previous albums didn’t, but this is the most personal Antimatter album to date. Whereas The Judas Table has more of a personal outlook. So there’s no risk.ĭead Rhetoric: The last album, Fear of a Unique Identity had a global, if not social outlook. ![]() But if there’s a song that has been festering in my mind for ten years, like “Black Eyed Man” or “Comrades,” if that’s been in my head for a long time, it comes out really mature. If I come up with a new song and it nail it quickly, I’m full of energy for it. If I had recorded them and released them quickly…it’s a trade-off. If anything, they kind of mature beyond the point they would had they been recorded. Are you one to hold onto songs for a long time? Is there a risk involved with that? ![]() Read on and learn something…ĭead Rhetoric: You’ve had The Judas Table album title around for a while. Heavy enough to drift into our lovely little metal territory, yet minimal to the point where becoming a full-on metallic outfit will probably never happen, and rightfully so.įresh off a rehearsal, the hoarse and tired Moss was kind enough to give DR a ring at 11:00 PM England time, where we waxed on The Judas Table, this thing called “friends,” the music biz, and much more. (They are: “Killer,” “Comrades,” “Little Piggy,” “Stillborn Empires” and “Hole”) It’s yet another artistic triumph for a band whose grip on dark rock is about as tight as they come. The songs are stark, yet challenging, and more importantly, so good, that no less than five (5) rank among his finest compositions ever. The Judas Table, much like previous Antimatter albums, is laced with innuendo and metaphors. The man scores regular, global gigs as a solo acoustic artist same with Antimatter, but to hear him say “Antimatter has languished at the bottom” of the music industry sums up his approach: He’s not fooled by the extensive praise his band(s) receive, nor is willing to buy into the industry hype machine. His main musical vessel Antimatter (lest we forget his excellent Sleeping Pulse project that debuted last year) has released unquestionably, their finest album to date with The Judas Table. Mick Moss is many things, if not honest and forthright.
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