Review The most distinctive thing about Damage, from a rock/metal perspective, is the voice of Barbara Moseley. She can easily hold her ground with such notable metal maidens as Lotta Höglin (Beseech), Anette Blyckert (Nightwish), and Liv Kristine (Leaves' Eyes, Theatre of Tragedy). --Harvest Moon Music Review: You guys sound great! 'into the rain' is leonard cohen in a tarantino movie. Great guitars, great production, really everything fits -good luck with this.... before the death of the music business, this would have been an instant 'sign' with a big label.....this is about the best indie stuff i can remember hearing....keep me in the loop, I'm a fan. --Tony Carey (Planet P Project and former keyboardist for Rainbow) Review With Anti-m's new sound, songs like LET U IN are sure to be Smash Hits! --John Dickson-SantaBarbara.com Review Barbara Moseley provides the strong and melodic female vocals...which can appeal to the more electronic/gothic rock crowd, and DAMAGE, DEEP, DAMAGE IN THE DREAM, LET U IN and RAGE all have a catchy/melodic sound to them as well. --Tommy T.-Cyberage Radio/DSBP Records Review Rage- This song is an epic! Gives me the same feeling as "Kashmir". Great guitar leads and nice harmony vocals. Scott Smythe-08 Review Barbara's vocals are brilliant a cross between Sarah Mclaughlan and Enya, that's a compliment indeed. Alan T. UK 2008 Review If I was to make comparisons, let's mix The Gathering and Pink Floyd, throw in a little Within Temptation and mix it up a bit. Then add a little electronica, and away we go. Ravenheartmusic.com Review "Rose Of Love" - Instrumentally this is VERY Depeche Mode meets KMFDM!!!! "Into The Rain" - I luv the dark feel on this one. Solid goth-metal ditty w/a Euro symphonic metal edge...I'd recommend it for listening! "Damage In The Dream" - Gorgeous. Perfect arrangements and vocals here. Perfectly goth/darkwave/metal. 5-2008 as sent to Anti-m web site Review A feeling of Evanescence while trying to make illusory jumps from one goal to the next.... Anti-M is an exhibition of different sounds fused by the will to reach an audience on a more profound level. Electronic sounds and dynamic keys, floating vocals, and driving guitar provide Anti-M with the arsenal to deliver the most DAMAGE. --Ron Ingalla at Bryan Farrish Radio Promotion Review Satriani Meets William Orbit with a Bit of Bowie to Create a Masterpiece. I like "Damage" - a lot. This is an amazing accomplishment for the apparently Santa Barbara-based studio band. "Damage" does not disappoint. The opening drones of the instrumental "Dreaming in Metaphor" set the stage for this journey. At the get-go the talent shines in chord voicing and chord choice. The ear is led to resolution that does not take place. Instead, a more interesting motif is presented, and the listener is beckoned to go further. When the guitar starts you are enticed to label this music, but the smart listener (not me first time around) resists. Do I hear Rush? Perhaps. The classical guitar flourish is tasty and provides excellent contrast. A repeat of the guitar melody leads us back to the drones. "Let U In" snaps you to attention with its quick yet sensual opening cry. The listener is treated to their first introduction of the truly fantastic female vocalist. Benatarian verses and choruses explode with power and meaning. The arpeggio coda is a good touch. The Title track, "Damage", sans-lyrics, displays excellent keyboard and guitar-doubled melodies. I may be wrong, but I hear acoustic drums as opposed to the prevalent use of drum machine. The china cymbal works well. The diamond of this music walks into the room via "Deep." Sublime barely describes the level of perfection found here. The vocalist is celestial, evoking the Seraphim. I am unable to listen to this song too often. The heavy guitaring in "Rage" holds this semi-instrumental down. The effects applied to the vocals, both overdubs and electronic effects, are well done. There is a definite middle-eastern tone achieved in several parts. As one of the longer pieces, it continues to introduce new material to the listener until it dissolves into drums and bass-like sounds. The third name is this article's title shows up in "It's All Inside." The short break-out launched at 0:52 is fresh. It ends quickly, but resurfaces at 2:06. The vocals and composition is superb. What seem to be real drums accent this song well. The herald at the end gets your attention. Syncopated lyrics in the verse lead off "Little Things." The Pop sound of this song would make an excellent soundtrack for the latest "chick flick." I hope the band takes that as a compliment -- those songs make a lot of money! Direction: "As theme song ends, dissolve to long shot of coffee shop on rainy day." David {bowie} shows up again in "Beautiful Babe," both in the lyrics and thetimbre. In a change of mood, the female vocalist arrives, calls to the man.and he answers. Then two are one. The sensuality of this song is undeniable. "Waita While" takes a very different direction. Moody, searching, and longing melodies are woven into this tapestry. The underlying piano holds this piece together while new tones are introduced throughout. Plucked notes (on the bass?) start "Rose of Love." The mix of Devo and falsetto works for this electronica. Although the guitar will not let you forget that this is pure rock. "Godzilla vs Rodan" demonstrates excellent synthesizer composition, tone sculpting and sound mixing. The syncopation keeps this piece interesting. The wonderful ballad "Into the Rain" is an effective bridge to the hard-cutting "Incineration." The guitar here defies criticism. Wow! The guitar is mated with majestic soaring keyboard lines until it all slides down to a slow dark dirge that is "Shiver." I am not completely sure what "Shiver" warns of, but I'll be sure to avoid it. Two longer pieces draw the record to its close. "Damage in the Dream" could be seen as repetitive of other styles and material previously presented, yet it presents its message. Dream leads the listener to "The Sixth Extinction" which mixes traditional piano, classical styles and Rick Wakeman inspired runs into a technical fury. The guitar enters to give us a quick lesson before the piano finishes us off. If you thought Anti-M got soft, "No Kill I" pushes that aside. Guitars and keys knock your head off. Anti-M always finds the melody, (an attribute of most Yes songs as described by Jon Anderson in almost any interview). The lyrics tell us "goodbye," the guitar and drums push us out the door to the gates of hell....but we are met by the angel once again ----- the crystal notes of "Deep" return and are matched with a lone music box, as we look into the lonely eyes so Deep. This is a masterpiece. As submitted to the anti-m.com web site and present on amazon.com