The Antlers – the beloved band and recording project of singer-songwriter-guitarist-producer Peter Silberman – today release their eagerly awaited and highly acclaimed new album Blight via Transgressive Records. To celebrate the release, and following the singles “Carnage” and “Something In The Air”, The Antlers today share a lyric video for the LP’s beguiling title track.
The follow-up to 2021’s rustic, folk-tinged Green to Gold, Blight asks many questions without offering easy answers. Over the course of nine new songs, the Antlers’ founder and primary songwriter Silberman reckons with our passively destructive tendencies – absentminded pollution, unwitting wastefulness, and the inadvertent devastation of the natural world. But despite its heavy themes, Blight is far from a punishing listen. With its adventurous arrangements and persistent momentum, it plays more like an iridescent odyssey.
The album was recorded over the course of a few years, with the lion’s share tracked and produced in Silberman’s home studio in upstate New York, a compact outbuilding perched at the edge of a neighbor’s sprawling hayfield. “So much of the record was conceived while walking these massive fields,” he says. “I felt like I was wandering around an abandoned planet.”
And in a sense, Blight does feel like science fiction, sounding as if it were delivered from the near future. The album is a work of meticulous world-building, teeming with ear candy and surprising stylistic shifts. While many songs begin with sparse elements— a fingerpicked guitar, hypnotic organ stabs, or a nimble piano melody — they rarely remain tethered to their foundations. They often reimagine themselves partway through, shifting mid-track from gentle ballad to throbbing electronica, only to land somewhere entirely different by the end.
Silberman has been confronting weighty matters ever since The Antlers’ 2009 breakthrough Hospice, an unrelentingly heavy concept album about a child cancer patient and her caregiver that addressed psychological abuse and post-traumatic stress with explicit detail and unflinching vulnerability, resonating equally with those grieving loved ones and rocky relationships. The album’s ambitious sonics— an unlikely amalgam of intimate folk confessionals, haunted soundscapes, and sky-scraping post-rock— belied its modest origins: Hospice was mostly recorded alone in Silberman’s Brooklyn bedroom, with an economy of equipment and hardly any expectant audience. The surprise popularity of Hospice placed the Antlers on a rapid ascent, touring globally, playing major festivals, and supporting such luminaries as The National and Explosions in the Sky.
The music that followed grew The Antlers’ sizable following while resisting the impulse to rehash their initial success. The electronic pop of 2011’s Burst Apart, the aquatic psychedelia of 2012’s Undersea EP, and the brass-laden soul of 2014’s Familiars all embraced the band’s ingenuity while simultaneously subverting expectations, expanding the band’s emotional palette beyond the morose rage and desperation that characterized Hospice to reveal a playful expansiveness. The Antlers further pushed the boundaries as a live entity, trading the lush orchestration of their ambitious recordings for wall-of-sound maximalism and thunderous dynamics.Portable speakers
Sadly, Silberman was forced to scale back after an unexpected hearing incident left him temporarily deaf in one ear and hypersensitive to sound. Putting The Antlers on pause, he made 2017’s Impermanence, a meditative and minimal solo album, pairing his then-fragile voice with gentle guitar and an abundance of silence. After regaining his hearing and recovering from vocal cord surgery, Silberman and longtime drummer Michael Lerner revived The Antlers for 2021’s Green to Gold, a collection of songs notably devoid of the darkness that characterized the band’s previous work.
Whereas Silberman’s past lyrics dealt in extended metaphors, Blight takes a more direct approach. In “Calamity”, for instance, he asks point-blank: “Who will look after what we leave behind?”
“The consequences of accelerating technology and environmental neglect feel imminent; that sense of urgency made me want to speak more candidly,” he explains. “The present-day specifics are so unsettling, and tomorrow’s possibilities are so surreal… there’s no need to mince words.”
The final and perhaps fundamental question posed by Blight appears in the penultimate track, the futuristic hymnal “A Great Flood”, in which Silberman wonders: “Will we be forgiven should there come a great flood to drown out our decisions?” Like those before it, this question hangs in the air unanswered. Blight invites listeners to consider it for themselves, as if the survival of the natural world is in their hands, slowly slipping through their fingertips.
The Antlers UK & EU Tour:
Thursday 5 March – Limerick, IE – Dolan’s
Friday 6 March – Dublin, IE – Whelan’s
Sunday 8 March – Glasgow, UK – King Tut’s
Monday 9 March – Manchester, UK – YES
Tuesday 10 March – Bristol, UK – Strange Brew
Wednesday 11 March – London, UK – EartH Theatre
Friday 13 March – Paris, FR – Petit Bain
Saturday 14 March – Amsterdam, NL – Zonnehuis
Sunday 15 March – Brussels, BE – AB Club
Blight album tracklist:
- Consider the Source
- Pour
- Carnage
- Blight
- Something in the Air
- Deactivate
- Calamity
- A Great Flood
- They Lost All of Us
