With its deaf pulsations which resound around tinkled sequences and the harmonic vestiges of "Filling the Emptiness", "They Call it Soup!" espouses the same introductory line as "Acceleration". The sleeping rhythm wakes up little by little to burst with violent orchestral jolts, freeing splendid synth solos which overhang a stubborn rhythm. Piano notes are unfurling on this hatched minimalism approach, pounded by a set of sequenced keys which beat on the same pace, while superb synth solos with more philharmonic tones surround this rhythm which fades little by little in the forgetting before being completely lost in the laboratories of LHC (Large Hadron Collider). "On The Shoulders of ATLAS" is the jewel of Antimatter. Uncertain notes of a melancholic piano trace the introduction. They draw a beautiful melody which resounds in our ears and which clears itself a road up to the soul as the violins and the cellos are supporting its fragility. The strokes of the bows which follow and this kind of tremolos which get free of it crush the listening and paralyze our judgment so much it is beautiful. And suddenly, we toggle in the depths of our feelings with this propensity that Kistenmacher has to juxtapose his orchestral ornaments and these discreet vocalizes in an immense emotional painting where everything becomes confused and nothing else affects the reason. And "On The Shoulders of ATLAS" to progress in a wonderful crescendo, allying this cinematographic approach and this influence of Kistenmacher for Vangelis which encircles Antimatter and which cements all of its beauty. "What’s the Matter?" pulls us in the mazes of the antimatter with synth layers which enlace and merge in a slow waltz without movement. A fine pulsation pierces the silence of immobilism. Its flow adds quite another dimension to "What’s the Matter?" which becomes as musical as mysterious with synth waves which coo of tones as spectral as shrill, before being lost in the curt and violent hatching of the fanciful cellos of "It Doesn' t Matter", whose increasing rhythm is rocked into suave synth solos. And it’s from this evolutionary rhythm that arises "Large Hadron Collider". A rhythm molded in the brisk and brief orchestrations, accompanied by notes of piano and over towered by synth solos and where sequences alternate subtly their strikings and draw a nervous rhythmic which go astray in the ethereal mists and romantic notes of piano, displaying the perpetual duality of the rhythms, the ambiances and the melodies which surround Antimatter. "Where Is Higgs?" concludes Antimatter with a solitary melody played on an electric piano with tones which sound vaguely like a harpsichord. Bernd Kistenmacher reigns in as a solitary master over his trilogy’s finale where nothing gets lost or builds up itself but where everything is of beauty and everything ends like that begun.
Superb! Antimatter is a wonderful album which listens to it as we read a tale or a book of poetry. Throughout its discovery we go deep into the imaginary of Bernd Kistenmacher and its feelings. It’s a powerful album which merges marvellously the electronic and philharmonic approaches as well as the poetic and harmonic aspects. If that would be Vangelis who would have composed Antimatter one would shout to the genius and would vote this album the Rite of Spring. Then, let us make as. Antimatter is a master-piece of contemporary music and it's about time that we recognize the genius of Kistenmacher which has no equal to write music."