As so often happens to groups that enjoy immediate and massive acclaim (See “Big Calm”, 1993) the creative cut and coquettish thrust of early recordings gives way to something altogether more formulaic and, in Morcheeba’s case, quite vapid.
Unable to make the same big splash in the same small pond twice the band relied heavily on their previous success as “chill-out” connoisseurs, churning out production clichés, tired formulas and – on 2002’s “Charango” – reducing their art to big-name collaborations in a desperate attempt to recapture the magic.
On “The Antidote”, Morcheeba achieve a hugely impressive return to form. 'Return' may not be the right word however since this album is more a departure from the Morcheeba sound than an improvement on it. For starters, sultry stalwart Skye Edwards has been replaced by feistier, grittier singer Daisy Martey (ex-Noonday Underground), ensuring a completely different vocal twist; and the same radical overhaul has been applied to their recording process thanks to experimental musician Rob Mullinder, who has helped them create a massive, ear-catching sound by recording everything live.
The songs here – and they are songs rather than complacent grooves - are by far the best they’ve made in a decade: vibrant hooks, an ear-twisting psychedelic edge and thoughtful lyricism match the bright, confident production perfectly, especially on tracks such as “Wonders Never Cease” and the wonderfully acerbic “Everybody Loves A Loser”.
The energy doesn’t run out halfway through either. “Daylight Robbery”, “Antidote” and “Lighten Up”, all maintain interest during the second half of the project thanks to the powerful production and Daisy’s resilient presence; even finale “God Bless And Goodbye” ends on a slightly rousing note.
Marking not so much a revival as a triumphant rising from the ashes, “The Antidote” is a surprisingly potent and clear vision of musical intent.
