Untitled Document

Duncan Patterson, the bassist and basic composer of Anathema, has left from his band after the release of the all-time classic “Alternative 4” on 1998. Six whole years later, his first official project under the name Antimatter appeared. Apart from Duncan, this project includes also Mick Moss and, additionally, the females Michelle Richfield and Hayley Windsor on the main vocals. “Saviour” is the first effort of this band/project and, for once more, it shows the incredibly emotional and sad musical personality of Duncan, this time together with the one of Moss. The album doesn’t have much to do with the fields of heavy metal and is based more on some tripped rock music standards. Half of it is written by Moss and half by Patterson, but it doesn’t become confused and divided in any case. Each musician has his recognizable personality as a writer, but when working together, these two manage to deliver a solid album of pure melancholy.

The majority of the vocals are female (Moss appears only on “Over Your Shoulder” and “The Last Laugh”), something that adds even more beautiful sadness in the whole thing. Michelle and Hayley have really wonderful voices, being sweet, clear, emotional and expressive. Their big participation in this album upgrades a lot the final result. Generally, most of the songs are based on rhythmic themes and drumming, which may be more standard or more experimental some times. The self-titled, “Over Your Shoulder”, the wonderful “Psalms”, or “The Last Laugh” are those based on this rhythmic lines, while some others focus more on the trip-like atmosphere, such as “Flowers” and “Going Nowhere”. Additionally, “God Is Coming” is the most experimental song of the album, since it starts rather calmly, but develops a lot, ending with some insane beats; a really impressive one. The compositions are rather simple, understandable and straight to the point in their huge majority, which is why they are so effective towards the listener. The bass-lines of Duncan are present again, proving that he may not be some kind of virtuoso, but he has his very own style of playing and he gives a big credit to the album due to that.

“Saviour” is highly recommended not only to those who follow Anathema (even more because of the participation of Duncan Patterson), but generally to anybody that’s interested in something honestly emotional, melancholic and attractively sorrowful.

KJP / March 2004

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Thankfully we didn’t have to wait long after the debut to hear again from Antimatter. In the summer of 2003 the second album, “Lights Out”, appeared on stores. The main difference with “Saviour” has to do with the fact that most of the vocals are male, made by Mick Moss, who this time lets himself be expressed a lot on this subject. Therefore, he manages to reveal a wonderful and very emotional performance throughout the album, since he’s got a great voice. Again, Patterson and Moss have written half of the album each, successfully producing a worthwhile, balanced and equal recording. Also, Jamie Cavanagh (bassist in Anathema) plays some percussion in this album.

“Lights Out” is darker than its predecessor and a bit more complicated concerning the compositions’ production. The songs are of longer duration and with more cuts, changes and passages into them. Therefore, it needs a little more time and effort from the listener in order to get into its spirit. During the first spins, the album may not sound as good as “Saviour”, but after you enter its world, it becomes at least equal with it. Songs such as “Everything You Know It Wrong”, “In Stone”, or “Reality Clash” are awesome, with the impressive bass lines of Duncan having a big role in them and adding a lot of the dramatic elements that complete the atmosphere. Some Pink Floyd influences are more easily visible here, something not negative at all, since they manage to produce nice themes out of them. Generally, “Lights Out” is less rhythmic that “Saviour” and more based on the darkness and sadness of the whole atmosphere it is exuding – pretty well, I have to say. From the self-titled song, which opens the album, until the magnificent instrumental “Terminal”, the listener experiences a fantastic magical voyage through the dark, through a sea of emotions capable to drag him along to hidden worlds within himself. It’s exclusively recommended to be experienced in a dark room on your own to feel its soul completely.

Duncan Patterson still keeps his unique style as a music player and composer, but creates something different than what he had been doing in Anathema, always together with the Irish man Mick Moss, something free from labels, record companies’ contracts and other limitative factors that usually effect in a negative way against the creativeness of the artists. Make sure not to overlook this band.

KJP / March 2004

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