Review Summary: Twenty-five years on autopilot?
When Antibloom came out in February 21,2025, it felt like the breath of fresh air many of us have been secretly desiring. With the release of Antibloom, Silverstein re-emerge with a subtle and confident glow-up.
After a complete listen of Antibloom, the first thing you notice is its brevity. Eight tracks. Twenty-three minutes. The album is over almost as quickly as it begins. The duration of the album is intentional. Antibloom is the first half of a double album. Pink Moon serves as its companion piece. While the pacing of Antibloom feels abrupt, knowing this artistic decision makes the pacing understandable, even if it does leave you wanting more.
Production-wise, Antibloom shares the same polished quality of Silverstein’s more recent albums. Antibloom only differs from previous releases with a few brief divergences from their tried-and-true methods. While they still continue to lean into stylistic habits, Silverstein step outside of their bubble by adding orchestral touches and dreamy textures into their sound. This isn’t a full-on reinvention, but it is enough to feel intentional and fresh.
The opener, “Mercy, Mercy,” begins with the sound a buzzing phone demanding to be answered. Things really get going with, ”Don’t Let Me Get To Low,” which takes the listener back into familiar territory. With catchy lyrics and a lingering sense of despair, the track feels like it could have been a B-side from Misery Made Me. Familiar? Yes. Effective? Yes. Refreshing? No.
Antibloom demonstrates that the band has the ability to step outside of their comfort zone. This becomes evident on “A Little Fight.” The track almost feels out of place amid the albums dark, emotional palette. The contrast, however, works in the bands favor. Bleak lyrics and upbeat instrumentation are reminiscent of Elliott Smith.
“Stress,” lives up to its title. Loud, jarring, and relentless. It stands out as one of the heaviest moments on the record. The track is the essence of stress. With a blend of emotional chaos and lyrics you’ll want to scream along with, “Stress,” is a track that you won’t want to miss.
By the time “Cherry Coke,” comes along, the album exhales. The urgency softens in a way that feels earned.
The biggest downside of Antibloom is its length. Knowing that this is a double album kind of helps to shift that perspective, but it doesn’t help to take away the feeling that this album isn’t complete. Another notable weakness is lyrical growth, or lack thereof. Musically, the band takes small risks here and there, but lyrically, Silverstein are well within their stomping grounds. For long time fans, this may feel comforting.
Still, Antibloom feels like a step in the right direction. Silverstein know who they are and what they are capable of. Antibloom offers enough variety to be an entry point into Silverstein’s discography. Overall, both long-time fans and newcomers can find something to appreciate.
