Posts Tagged ‘Peter Silberman’

Here’s what they say about it: At long last, we’re proud to announce our new album, ‘Green to Gold’ will be released on March 26th via Anti / Transgressive Records! You can pre-order the new album via Bandcamp. And today, we’ve got a new song to share with you. This one’s called “Solstice”.

“Solstice” is a flashback to the infinite days of peak childhood summer, innocent barefoot hikes, staying outside all afternoon and late into the evening, well past it being too dark to see. But it’s remembered from the vantage of a present day that feels unbearably long rather than joyously endless. It’s an invocation of those simpler times, an attempt to conjure the lightness of youth, before life got so damn complicated. Peter Silberman is back with the first Antlers album in seven years, which will be out in March. Here’s the new single.

Eager to share the rest of ‘Green to Gold’ with you this spring. Thank you for listening. With love,The Antlers”


Vocals, guitar, bass, pedal steel, piano, and organ by Peter Silberman
Drums and percussion by Michael Lerner

Bass clarinet on “Wheels Roll Home” by Jon Natchez
Violin and viola on “Solstice” by Will Harvey
Cello on “Stubborn Man” by Brent Arnold
Banjo on “Just One Sec” and “Volunteer” by David Moore
Slide Guitar on “Just One Sec” by Dave Harrington
Baritone saxophone, flute, clarinet, and french horn on “It Is What It Is” by Kelly Pratt
Guitar on “Green to Gold” by Tim Mislock

Releases March 26th, 2021

The Antlers are very pleased to share another new song with you today. This one’s called “It Is What It Is,” and it’s out now via Anti Records and Transgressive. “It Is What It Is” is a song about hindsight. It considers what might have changed had you handled things differently back then, and the reluctant acceptance that it’s too late for all that now. It the inevitability of changing seasons, transitions that feel like loss in the moment, but come to represent growth over time. Accompanying the song is another beautiful video. 

The Antlers shared the video for new single ‘It Is What It Is’, which sees the New York band enlisting the skills of world-renowned contemporary dancers Bobbi-Jene Smith and Or Schraiber.

Describing the new offering, lead singer and songwriter Peter Silberman said:
“‘It Is What It Is’ is a song about hindsight. “It considers what might have changed had you handled things differently back then, and the reluctant acceptance that it’s too late for all that now. It’s the inevitability of changing seasons, transitions that feel like loss in the moment, but come to represent growth over time.”

The latest effort comes after they returned last month with ‘Wheels Roll Home’, which ended the long wait for new material from the band, whose last album came in 2014

The Antlers

New York based band The Antlers have a new song, The Antlers are back with their first new music in six years. Following the album, 2014’s “Familiars” Pete Silberman and Michael Lerner have shared the new song “Wheels Roll Home” Listen to it below.

After “Familiars”, the Antlers refuted rumours  that they’d broken up. Silberman released a solo album in 2017 called “Impermanence”  before Spatial Relations, his duo with Nicholas Principe, recorded music for Slate’s Slow Burn podcast and Luminary’s Fiasco podcast, as well as Malcolm Gladwell’s Talking to Strangers audiobook.

It’s been way too long, friends. But we’ve finally got something new to share with you, a song called “Wheels Roll Home”, out now via Anti records and Transgressive. “Wheels Roll Home” is a simple song about the hopeful promise of reunion after a long time gone. It’s that feeling of finding home in someone, eager and impatient to build a life together. It’s the experience of waiting out tumultuous times, longing for stability someday. Written by Peter Silberman & Michael Lerner Featuring Jon Natchez on bass clarinet

Last year, the Antlers toured and released a 10th Anniversary reissue of their “Hospice” album.

Hospice turns 10 years old this year.  Let that one sink into your old, shriveled hearts.  The Antlers third and most beloved full-length album, “Hospice” opened our collective eyes to The Antlers’ achingly brittle anthems, a sound that could pierce the far-reaching souls of the festival grounds just as easily as the intimate bars and clubs. Peter Silberman’s vocals could morph from almost-inaudible whispers to thunderous falsettos, especially evident on tracks like Sylvia and Wake.  These weren’t the kinds of tracks that you could put on in the background.  They moved us emotionally, but more importantly, they reminded us of our mortality.

“We’ll be playing a limited number of acoustic shows to celebrate, too. But it will be a bit different this time as the core band now consists of Peter Silberman and drummer Michael Lerner  longtime multi-instrumentalist, producer, and engineer Darby Cicci is no longer with the band.”

So far, the band have announced a host of shows, including five shows in the UK and Ireland.

“Though we’ve pared down for the time being, these shows will feature some old friends and guests, and together we’ll perform ‘Hospice’ in its entirety,”  the band said.

“We’re truly looking forward to revisiting these old songs in a new light and seeing your friendly faces again. Your patience and support means so much.”

Now, does anyone have the original pressing?  I was one of the many listeners who immediately went out to buy the vinyl when it came out in 2009 and, like all of those other buyers, was shocked at how horrid the sound quality was.  No hyperboles here, that first and only pressing of Hospice is one of the worst-sounding records I have ever laid ears on.  Today is the day for redemption, friends.  Remastered and now on a double LP, our Hospice comes back home to rest.  Grab the white vinyl from the band’s online store after the ‘buy’ link.

Hospice 10th Year Anniversary 2xLP
Newly remastered as a 2xLP and pressed on white vinyl, with deluxe artwork and packaging courtesy of the album’s original artist, Zan Goodman.

10 Years of The Antlers' <i>Hospice</i>, Indie Rock's Emotional Breakthrough Album for the Ages

When Peter Silberman finished writing Hospice in the summer of 2008, he didn’t expect anyone to hear it.

A pretty big reputable label, according to him, got their hands on the record, his third under the name The Antlers following two self-released albums, soon after its completion. Silberman, then playing with a band for the first time—The Antlers were, for all intents and purposes, a solo act up until this point—booked a tour on his own, which included a show in the city where the unnamed label was based, hoping to sign their first record deal.

The show didn’t exactly go as planned and the imprint essentially lost all interest.

“I can’t say that we were great at the time either,” Silberman, the lead singer and lyricist of The Antlers, reminisces. “I wouldn’t blame them. We were hoping that was going to happen and it didn’t really have much of an audience. We thought it’d be our big break and it just didn’t materialize. At the top of the next year, I was just feeling like, ‘I need to get this record out somehow.’”

The product of an ultra-intense period of his life, Hospice is so personal of a record that Silberman never fully told the story about the abusive relationship the lyrics painstakingly describe through the guise of a hospice worker and a terminal female patient. While he initially pushed for a label to help promote the record, he never really assumed people would listen to it, that his deeply autobiographical stories, soundtracked by some of the most compelling whispers and crescendos in the history of indie rock, had an actual audience.

And initially, it didn’t.

“We assembled these CDs ourselves, these digi-packs, we put them together ourselves and printed them ourselves and burned all of these CD-Rs and we announced—maybe we sent out to our mailing list and sent out to MP3 blogs at the time because that’s how you did it back at the time in 2009—that we would put this out,” Silberman explains. “We were selling everything through PayPal, packing and shipping ourselves. It was a very DIY operation. I was still sending out to blog and press contacts I had myself and I was putting tours together.”

But then Hospice landed in the hands of Bob Boilen and Robin Hilton at NPR, and everything changed. Mind you, this was a period when music publications and blogs could still drive sales and create hype to a point that’s completely unheard of 10 years later. So when Hilton wrote, “Frontman Peter Silberman is only 23, but has produced one of the most beautiful and moving works I’ve heard in a long, long time. Just astonishing,” in a piece titled “2009 Already Better Than 2008” towards the end of February, 2009, it had a massive effect on The Antlers’ trajectory.

“NPR got very excited about it and posted about it in a way that brought a lot of people to our pre-orders and a lot of people started ordering the record and we started feeling like, ‘Oh wow, this kind of fell out of nowhere,’” Silberman says. “One after another, this started catching on and people started listening to it. We had at this point self released it and a few labels did come calling and I talked to them and we met with some folks and met with publicists and booking agents. We just hit the road and just stayed on the road while this was growing. It just continued to accelerate and we were rarely, if ever at home, and the shows were getting bigger. We entered into this new position. It really felt like word of mouth at the time. The people who liked it felt very strongly about it, and they felt like this was something that they really wanted other people to hear. There were plenty of people who were not into it who were like, ‘This is not my thing,’ but I think the people that liked it, it was an unusually strong bond they formed with it.”

Similar to how masses of people grew attached to the brutally honest lyrics of Scott Hutchison’s Frightened Rabbit across the Atlantic a year prior when The Midnight Organ Fight rapidly spread through a word-of-mouth campaign, The Antlers became a spiritual American counterpart of sorts as loads of listeners quickly latched onto the sweeping, complex, and authentically emotional themes of Hospice.

That sudden hype presented Silberman with a major challenge, one that influenced the trajectory for the rest of his career—how do you keep your sanity and privacy intact as your almost-too-honest work begins to gain traction? At what price does indie fame come with?

“I definitely took a step back after Hospice, and part of that was feeling what it was like to be that vulnerable in public, which wasn’t something that had really crossed my mind with any reality when I made Hospice because I didn’t really have an audience then,” Silberman says. “It wasn’t until Hospice caught on and there was an audience that I suddenly became aware of the kind of personal toll that laying yourself bare to a lot of people can take. I think that it was absolutely vital for what Hospice is and possibly how other people connected to it; it’s vital that it be as raw as it is and explicitly personal.”

That rawness Silberman mentions is what initially drew a passionate legion of fans to The Antlers’ shows, leading them to sell 13,000 copies of Hospice by October 9th, 2009, only two months following the re-issue by Frenchkiss. The label, alongside a handful of others, heard the loud chatter amongst the Brooklyn indie-rock community and quickly signed them to give the record a proper release. The Hospice album campaign, which initially began in disappointment at not partnering up with a label prior to the self-release, kept exponentially growing with a new partner in Frenchkiss, never peaking at any point throughout 2009.

“I think on a certain dimension, my dreams were coming true and not only were they coming true, but they were being surpassed really quickly,” Silberman remembers. “I set a pretty low bar for myself is what I came to realize as things began to actually take off. There was something really validating about that, going from no audience to kind of what felt like hysteria around that record at the time. It was very validating and it felt like it kind of turned that ugly situation that inspired the situation inside out. I think now is actually the happiest time of my life and what was happening back then was a succession of adrenaline rushes that felt really good, but were a total shock to my system and were invigorating but I wasn’t prepared for them. I came to lose myself in that excitement for a while until I burnt out on the other side of it.”

Though it wasn’t the highly personal nature of Hospice’s lyrics that contributed to that burn out—rather a combination of touring and the lifestyle that goes along with it—the sudden visibility and interest in the relationship that Silberman detailed throughout the record did push him to slightly sensor himself for future records, including its excellent follow up, Burst Apart, released in 2011.

“I think I became aware of the consequences of pulling details directly from your life and putting them in a story for the public to hear, for strangers to hear,” Silberman explains. “My approach to writing started to change. Throughout songs and albums that followed Hospice, there are specific references in there, but they’re kind of inside language for the people that they’re written about. I think I also became aware of the temptation to include a lot of really specific details and think that that makes for a good story. There were times where I tried that and found that it didn’t always call for that, that it didn’t necessarily make a song better, and that it didn’t necessarily make a story easier to understand. But with a story like Hospice, which is a lot about a kind of psychological fog and losing yourself and about the intricacies of a really dysfunctional relationship, I think the details are really important.”

Ten years later, The Antlers are currently in the midst of their first tour since 2015, giving Hospice the 10 year anniversary treatment, playing the album in full as a duo, this time just Silberman and percussionist Michael Lerner, following a deluxe edition re-issue to mark the occasion earlier this month. Hitting their original launching spot, Brooklyn, for two nights this weekend, Silberman has recently begun revisiting the album that sent him into the upper echelon of bands at the peak of the indie-rock era, noting how far removed he is from his mindset when he wrote the complex and vivid story.

“I’ve been surprised to find that when I’m listening to it, it’s not really putting me back in the events that brought it about—the relationship that the record is based on,” Silberman explains. “I’m just kind of getting a picture of where my mind was like at the time, the way that I was experiencing the world and the way that I was interpreting the things that were happening to me. It’s like reading old notebooks or something and it’s funny to be at a removed perspective from it now and to be able to see that you’re a long ways away from it. It’s occurring to me now that the chorus of ‘Bear’ kind of applies here, this simultaneous feeling during making the record where I felt that I was very old and I had lived a lot of life at that point. To look back 10 years later and say, ‘I was very young at the time when this happened’ and just having the benefit of some time, it just makes it a surreal experience.”

That chorus he refers to, “We’re too old / We’re not old at all,” breaking up a starkly minimalist song with an explosive refrain, feels just as uplifting as it did 10 years ago upon its release. While revisiting Hospice, a revolutionarily raw rallying cry that propelled Silberman and The Antlers to indie stardom, is no doubt as odd of an experience as he lets on, it’s also an interesting look back at how hype and word of mouth could push a band to unimaginable success. And 10 years later, Hospice is every bit as vital, emotional, and true as it was then, providing a gentle reminder why The Antlers reached the fame they did—owing completely to the story, the lyrics, and the instantly infectious melodies that drive the whole record, all leading up to one final falsetto scream.

Peter Silberman released the first installment in a six-part performance film titled Impermanence at the Glass House, which follows the progression of his solo debut, “Impermanence” beginning with album opener “Karuna.” The “Karuna” segment, directed by Derrick Belcham and filmed in the Glass House, does credit to both Silberman’s vision and its performance space. Filmed in one sweeping shot, the video traces the curves, corners and walls of the house built by architect Philip Johnson, forcing the audience to reconstruct the house in their own minds. On display, as well, are two dancers, Rebecca Margolick and Stephanie Crousillat, whose motion interplays with the shadows. Belcham, in a statement, gave some insight into his artistic vision:

It is rare to find a project in which each element is a person, practice and aesthetic that I love completely. The sound of Peter’s performance reflecting off the surfaces and enclosures, Rebecca and Stephanie’s spatial relationship with the architecture of the Glass House, the visual reflection of the House itself, the exchange of words and chords with the bodies of the dancers augmented by Natasha Takemoto and Joy Wolcott’s perfectly-toned garments created a beautiful world to explore with the camera. These dynamic partnerships allowed for theater-level exploration as the events were captured in a single take and single shot.

Peter Silberman’s measured performance is perfectly housed here the microtonal nuances of his wavering falsetto were given an ideal space in which to expand.

The Antlers Peter Silberman’s forthcoming solo debut “Impermanence” promises to be great self-care music previously released single “New York” dealt with Silberman’s sensory overload, while “Ahimsa” touches on his emotional overload. Peter Silberman will release his solo album on February. 24th via Anti- Records. The album, titled “Impermanence”, promises a shift in focus towards Silberman’s personal life and nostalgia.

Impermanence Tracklist
01. Karuna
02. New York
03. Gone Beyond
04. Maya
05. Ahimsa
06. Impermanence

Image of Brian Jonestown Massacre - Don't Get Lost

“Don’t Get Lost” was recorded & produced at Anton’s new Cobra Studio in Berlin between March 2016 & October 2016. It is the 16th full length release. With band members Ricky Maymi , Dan Allaire , Collin Hegna & Ryan Van Kriedt .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues .New Young Pony Club) on saxophone joins the band on this album , plus vocal performances from Tim Burgess (Charlatans) , Tess Parks and Shaun Rivers .

A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists, on some tracks you might hear PIL (Metalbox) , Primal Scream , or even Ornette Coleman . 14 tracks that will twist and turn through the known and unknown Brian Jonestown Massacre . In 2016 The band released 2 singles and the critically acclaimed Third World Pyramid .

Image of All Them Witches - Sleeping Through The War

Produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons) and mixed / engineered by UK-bred young-gun Eddie Spear, All Them Witches’ ‘Sleeping Through The War’ is the quartet’s most bold and well-crafted record to date.
The album’s creation marks the first time in the band’s history that a record was written before entering the studio. This process allowed for an alignment of the band’s art, desire and time. Convening in Nashville for only six days after a year of relentlessly touring their New West Records debut ‘Dying Surfer Meets Their Maker’, the band’s spirit coalesced in a rhythm of statement and melody that simply needs to be heard… repeatedly.

With the guidance of Cobb and Spear, ‘Sleeping Through The War’ captures the truest energy of the group, full blast, fun and contemplative. The record was made with volume in mind. ‘Sleeping Through The War’ is meant to be played loud, cranked up and without reservation. Feel it live through your stereo system or listen to it speak in tongues through your headphones.
The sounds are nothing without the songs and the songs are nothing without the lyrics. This record is a result of constant touring, world travel, overstimulated / divided humanity and a learning of awareness and compassion.
“They are the real deal – psychedelic blues-rock warriors who pray at the altar of Black Sabbath, space out like Pink Floyd and shred away their bummers like Blue Cheer.”

Image of Eyelids - 854

Principal songwriters John Moen & Chris Slusarenko (BOSTON SPACESHIPS, DECEMBERISTS, ELLIOTT SMITH, STEPHEN MALKMUS, DAMIEN JURADO) have turned inwards to their loves of New Zealand/Flying Nun guitar buzz, their teenage LA Paisley Underground obsessions, haunts of early Athens and all things beautiful, lopsided and rock. Along with members Jonathan Drews (guitar), Jim Talstra (bass) and Paulie Pulvirenti (drums) they push & pull against each other’s songwriting, in a beautiful tension that just works.

Image of Sun Kil Moon - Common As Light And Love Are Red Valleys Of Blood

“‘Common As Light And Love Are Red Valleys Of Blood’, for the most part, captures events from January to August of this year and how I processed it all while traveling.
“[…] I’m blessed to have met the very talented Justin Broadrick and to have made these beautiful albums with him.
“These two new albums capture more than my reactions to mass murders or the passing of beloved heroes like David Bowie or Muhammad Ali. The Sun Kil Moon and Jesu/Sun Kil Moon albums are also full of love, humor, and my gratitude

Image of King Gizzard & The Lizard Wizard - Flying Microtonal Banana

Geelong’s insuppressible King Gizzard & The Lizard Wizard release their new album ‘Flying Microtonal Banana’ on Heavenly Recordings – the first of five albums they are set to release in 2017.

Talking about the making of Flying Microtonal Banana, Eric Moore of the band said: “Earlier this year we started experimenting with a custom microtonal guitar our friend Zak made for Stu. The guitar was modified to play in 24- TET tuning and could only be played with other microtonal instruments. We ended up giving everyone a budget of $200 to buy instruments and turn them microtonal. The record features the modified electric guitars, basses, keyboards and harmonica as well as a Turkish horn called a Zurna.”
Shimmering, hypnotic and propulsive and powered along, as ever, by the metronomic beat of two drummers, ‘Flying Microtonal Banana’ takes a subtle musical shift away from the frazzled freak-beat of its predecessor, ‘Nonagon Infinity’. Trance like, in parts clipped and concise yet deeply psychedelic, it reveals yet another musical side to a band seemingly in perpetual motion.

Perhaps one of the most exciting live bands out there right now, they appeared at both Green Man and End Of The Road festivals over the summer as well as playing sold-out London shows at the Electric Ballroom, Moth Club and The Electric during 2016. The band will bring their unrestrained and free-wheeling live show back to the UK in 2017.

Image of Peter Silberman - Impermanence - Bonus Disc Edition

While Impermanence is Peter Silberman’s first solo album, it could easily be thought of as a continuation of the emotional-spiritual odyssey begun through his work in The Antlers over the past decade. It travels some of the thornier terrain of the trio’s previous albums Hospice, Burst Apart, and Familiars, while carrying the conversation further down the path.
But much of what distinguishes Impermanence from its forebears can be attributed to an unexpected injury, which imposed upon the musician considerable time and space to ponder the finite.
A few years back, Peter Silberman developed a hearing impairment in his left ear that resulted in a temporarily total hearing loss, extraordinarily loud tinnitus, and an excruciating sensitivity to everyday noises. The condition required extensive rest and quiet, and in order to get that, he left his Brooklyn apartment for a more secluded setting in upstate New York.
The six songs have an economy of expression, the spaces between the words as important as the words themselves. Like the infamous Miles Davis quote: “It’s not the notes you play, it’s the notes you don’t play.”

As the writing neared completion, Silberman linked up with his long-time friend and collaborator, Nicholas Principe of Port St. Willow. Over the course of a few winter months, Principe engineered the album in his upstate People Teeth studio, contributing production throughout. Together, they carved out a sacred sonic space, elongating the distance between notes, between chords, utilizing minimal arrangements to allow breathing room.
But the album goes beyond experiments in ambience. It actually traces the stages of healing, as Silberman experienced them.

“The sequence charts a circular course between distress and peace,” he explains. “The final track returns you to the mood of the first by a wormhole through a single breath, split in half across the last and first seconds of the album. It mimics the cyclical nature of facing unexpected obstacles.”
“I hope Impermanence can provide comfort to people grappling with transition, while remaining honest about it. There’s no remedy for the unpredictable, and I want this record to reflect that, to offer an alternative way to think about changing circumstances.”

Image of The Feelies - In Between

New Jersey indie-rock pioneers The Feelies are celebrating their 40th anniversary with the release of “In Between”, their first album of all new material in over 6 years.
Whilst working the post Velvet Underground moves they’re so famous for, In Between brings interesting new ideas into the mix. The twin-guitar attack of songwriters and founders Glenn Mercer and Bill Million is still at the core of the group’s infectious sound, paired with the driving rhythmic team of drummer Stan Demeski and percussionist Dave Weckerman, with Brenda Sauter’s bass guitar proving a rock solid foundation.

“On the new record we did a lot of it at my house in my home studio with extra equipment, explains Mercer. “It’s the same room where we rehearsed. We’ve been here since we reformed and a little bit prior to taking the hiatus in the 90’s. So it’s a room we’re really familiar with and feel comfortable in. We also did some recording at an engineer’s studio, so it was all done very low key. We refer to it as “off the clock” when you’re not paying an hourly rate, so in that sense it was a lot more relaxed. I don’t think anyone would notice a drastic change in the sound or the vibe of the record. I think it sounds a lot more relaxed and laid back.”

“I think all of our albums reflect a certain degree of reaction to the work that we previously did and In Between is no exception,” continues Bill Million. “We liked the sounds and the feel of the demos for this album and we thought it would be difficult to capture that in a recording studio. So that was our starting point and it evolved in a much more relaxed way that loaned itself to more creative interplay. Time wasn’t a component. If you let it, music can take on a life of its own and we wanted to allow the songs to develop with that idea in mind.”

Formed in Haledon NJ in 1976, The Feelies have now released six albums – including their critically acclaimed and influential debut Crazy Rhythms, as well as playing concerts with The Patti Smith Group, REM, and Bob Dylan as well as touring with Lou Reed.
In 2008, The Feelies re-united after a 17 year hiatus to open for long time admirers Sonic Youth at Battery Park and then resurrected their tradition of playing low key gigs at strategic intervals throughout the year rather than doing lengthy tours. They signed with Bar/None the same year, who re-issued The Good Earth and Crazy Rhythms. Here Before was released in 2011 and marked The Feelies first studio album in nearly two decades.

Let Peter Silberman's "Ahimsa" Calm Your Afternoon

The Antlers frontman Peter Silberman’s forthcoming solo debut “Impermanence” promises to be great self-care music—a previously released single “New York” dealt with Silberman’s sensory overload, while the track “Ahimsa” touches on emotional overload. Behind an ambient guitar , Silberman echoes the mantra, “No violence today.” Silberman explains the song’s meaning and value in a statement, saying:

Ahimsa usually translates from Sanskrit as “non-harming”, which I take to mean practicing a non-violent attitude toward others and myself. I wrote the song as a personal encouragement to cultivate that awareness whenever possible, to be less knee-jerk reactive, to snap to fewer judgments, and above all, to be patient. I need this reminder often. “Ahimsa” is also my ridiculous wish: for a unanimous period of calm and safety, for one whole day of peace. I mostly think this is an impossible goal.

But I hold on to some small hope that it can be reached by an incredibly long road,walked with microscopic steps, by creating harmonious moments and stringing them together, one-by-one, over the course of many lifetimes.

Impermanence will be released by Anti Records on February. 24th. Listen to “Ahimsa” below,also check out Silberman’s upcoming tour dates.

21st century concept albums Antlers

The Antlers – “Hospice” Released in (2009; Frenchkiss Records) is the third studio album by American indie rock The Antlers, and their first concept album . It was initially self-distributed by the band in March 2009, and was then eventually remastered and re-released.

Part of what makes a concept album truly work is the narrative it’s beholden to. Hospice is a grizzly and harrowing work, which seeks—if nothing else—to completely hollow you as a human being. Dealing with a hospice worker’s romantic entanglement with a patient with terminal bone cancer, Hospice is an album with a palpable feeling of mournful hopelessness.

Singer Peter Silberman’s vocal styling is responsible for at least 50 percent of the latent intensity of the narrative, a quivering whisper of toiling emotions, annunciating with ruthless efficiency a narrative of intense tragic beauty, backed by the sometimes gigantic walls of sound produced by the band, as if to jolt you from the dreamy vocal patterns. It is passionate, powerful and pragmatic in its vision of a relationship that is cultivated through frailty and exposed through its own flaws. Hospice is a direct narrative of suffering without any obfuscation at all, its music perfectly pairing with the rollercoaster anyone experiences in a relationship, with an ending that either uplifts and destroys

The album was released to critical acclaim. Music blogs endorsed the re-release of Hospice with their “Best New Music” stamp.  NPR Radio placed the album at number one on their list of the top ten albums of early 2009. At the end of the year, praising its “power to emotionally destroy listeners


  • Peter Silberman – vocals, guitar, accordion, harmonica, harp, keyboards
  • Darby Cicci – trumpet, bowed banjo
  • Michael Lerner – drums, percussion
  • Justin Stivers – bass
  • Sharon Van Etten – vocals on “Kettering,” “Thirteen,” “Two,” and “Shiva”

Antlers frontman Peter Silberman recently released the solo single “Slips Away” after revealing that he would release his first proper solo album at some point. The album details are finally here, and it turns out that “Slips Away” is not on the album, but the new nearly-nine-minute single “Karuna” is. If you like The Antlers’ atmospheric, melancholic pop, you’re probably gonna like this too. The album is called Impermanence. Here’s what Peter says about it:
Much of what distinguishes Impermanence from its forebears can be attributed to an unexpected injury, which forced me to consider the finite. A few years ago, I developed a hearing impairment that resulted in a temporary total hearing loss in one ear and an excruciating sensitivity to everyday sounds, including my own voice. In order to find rest and quiet, I left my Brooklyn apartment for a secluded setting in upstate New York.
It would be some time before I experienced silence again, thanks to a constant blizzard of tinnitus. Once silence ceased to be available to me, I came to think of it as the luxury of well-calibrated perception. We mistakenly perceive it as nothing, but it’s precious, a profound entity. It became obvious to me why many prayers are silent, performed in immaculately quiet spaces.
As the sensitivity and static began to subside, I gradually re-introduced sound into my world, gently playing my nylon-string acoustic guitar and whisper-singing. Eventually songs emerged— ”Karuna”, “New York”, “Gone Beyond”, “Maya”, “Ahimsa”, and “Impermanence”— each sparse and minimal. I was conscious to only say what needed to be said. The six songs have an economy of expression, the spaces between the words as important as the words themselves. I often thought of the Miles Davis quote: “It’s not the notes you play, it’s the notes you don’t play.”
As writing neared completion, I linked up with my friend and collaborator, Nicholas Principe, to record at his People Teeth studio in Saugerties, NY. Together, we carved out a sacred sonic space, elongating the distance between notes, between chords, utilizing minimal arrangements to allow breathing room. With the help of mix engineer Andrew Dunn, we repeatedly ran tracks through aged tape until the songs themselves decayed.
But the album goes beyond experiments in ambience. It traces the stages of healing, as I experienced them. The sequence mimics the challenges in facing unexpected obstacles, charting a circular course between pain and peace, in which both are passing phases.
Impermanence illustrates our uncertain world, where everything and everyone is a temporary participant. It provides no remedy for the unpredictable, but instead offers another way to think about changing circumstances. I hope it can provide some comfort to those of us grappling with transition, which is, undoubtedly, all of us.