Interviews : Antimatter

It did not take long for Duncan Patterson to rediscover himself musically after leaving Anathema. Along with a childhood friend, Mick Moss, Duncan is back with tranquil yet morose sounds of Antimatter. The band's new album, Light Out, is nothing short of a breathtaking listening experience. Combining the sounds of Portishead, Massive Attack, and even some of the newer Anathema, the combo of Moss and Patterson creates beautiful and emotional, trip-rock that enchants the listener.

Duncan was nice enough to spend some time answering a few of my questions via email. Enjoy!

Duncan, congratulations on Lights Out. Do you feel like you've finally established the sound of Antimatter enough to shift away from numerous Anathema comparisons?

I dont have to worry about Anathema comparisons as the similarities only go as far as my own songs anyway. I wrote the stuff on Eternity and Alternative 4 alone in my bedroom so I dont think its me who needs to worry. Lights Out is more mature sounding than Saviour. Im glad we had the time we did to record this album. I spent most of my money in the past 2 years buying equipment so we could have everything pre-produced before we hit the studio and it proved a good move.

Lights Out is intriguingly spectacular; you managed to correct all the major flaws of Saviour. While the new material is simpler, these new songs are darker and the male/female vocals are certainly better than before. Did you and Mick specifically concentrate on a few things that you wanted to change within the Antimatter sound, or did everything come naturally in the studio?

Like I said, a fair bit was done before we entered the studio. I do like to make decisions while in the studio, though, as everything starts getting layered. I spent a lot of time going through the keyboards and getting the right sounds that we needed. The flaws in Saviour were due to lack of time and lack of equipment. I had to borrow equipment from my friends because somebody stopped me getting my Anathema royalties and I was broke at that time.

Staying with songwriting, do you feel that in order to compose dark and enigmatic songs like the ones that you create, one must be a mysterious and a depressed person? What type of a person do you consider yourself to be?

My songs reflect what I am about. Its all brutal honestly, so I guess you have an idea what Ive become through the songs. I do try to have a good time, though, but it usually involves drinking or something else.

Even though I hate to dwell into the relationship with you and Anathema, you were in the band responsible for what is arguably, one of the best death/doom albums of the 90's, Serenades. Looking back at what you've done with Anathema, how do you feel about the years you spent in the band and the music that you composed? In your opinion, do these previous compositions pass the test of time?

Yeah I think theyve stood the test of time well so far. Alternative 4 sparked off a load of bands doing stuff like that now. I was looking through the lyrics of a fairly big band in that scene now, and I found plenty of lines that had been borrowed from Alternative 4. I found that a bit sad really but thats life, eh? I was never really happy while I was in Anathema. The early days were best for me as I wasn't under so much pressure. When Darren went I had all the responsibilities passed over to me, when they should have been shared by the four of us, but the others weren't capable. I should really have left two years earlier but I felt I had worked too hard to just give up and let the others reap the rewards of my hard work. It ended up like that anyway. Well, even worse because I had someone like Dave Pybus reaping the rewards of my hard work which makes my blood boil to be honest.

When listening to Saviour and Lights Out, it is staggering how well your and Mick's writing styles match, especially considering how difficult it is to find a compatible person who appreciates and shares your vision. I am not sure if this a rhetorical question, but what is the story behind how you and Mick meet?

I've known Mick since school. Yeah, I agree about the styles matching. Mick's songs are more song-structured while mine tend to go off in a weird direction but they're compatable styles and it works well for us. Mick is an honest person as well, so theres no bullshit going off.

If I am not mistaken, the main reason why you started Strangelight Records is because of the inability to get a suitable record deal. I cannot perceive that the early Antimatter sounded amateurish and undeserving of a record deal. So, how come?

The demos didn't sound that bad actually. No, the reason I started Strangelight was because we had just had a bad experience with Icon Records who truly fucked us about for a long time. I didn't wanna go with any of the bigger metal labels as we're not metal for starters, and I didn't want to get thrown in amongst all the bullshit. I try to be as independant as possible and luckily Prophecy Productions got in touch about a licensing deal for Saviour. A short while later I contacted The End records as a few friends from the States advised me that way. Things moved fairly quickly with them so we've landed on our feet in a way because we're working with respectable companies and I can run Strangelight in my territories.

Lights Out really stands out in the production. If played loud enough, it sounds as if the band is playing live in your room, particularly due to the way the vocals were recorded. Anything done differently in the studio this time around?

Yeah, it was a totally different process than Saviour. We had some live drums this time and a much, much better drum sound. It was recorded onto ProTools, too and Saviour was on 24 track tape with some live stuff synced up. A lot of time was spent on the mix, this time, maybe even too much time, I dunno. I'm happy with it anyway.

Speaking of vocals, while Mick handles pretty much all of the male vocal duties on Lights Out, the tiny bits that you sing sound as impressive if not better. Why are you not singing much anymore?

I don't like singing. Mick is a natural vocalist.

The band recently completed a rather large stint of gigs throughout Europe. What was the response you received? What was the best place to play?

The shows in Athens and Istanbul were something special. It seemed that the Greeks were more into the old Anathema stuff we played but the Turks were singing along to the tracks from Saviour. It was a nice experience, I have more pride in doing that than I ever did in Anathema.

The reason why I am asking is because there are some very emotional parts on both of your albums, particularly Lights Out. The few that really strike me are the least few minutes of The Art of a Soft Landing and the ending keyboard part of Dream. When you play live, how does the crowd usually respond to your music, i.e., do people sing along or mostly space out while enjoying a cigarette and a drink?

We only play acoustic shows at the moment and in fairly small venues, so it's an intimate atmosphere. It's irritating when people are talking all the way through an acoustic set, but it's usually okay. As I said, in Greece and Turkey, people were singing along with us.

What is the most grandiose form of flattery that you have received playing with Anathema and Antimatter?

I dunno really. I can't accept things unless they're realistic. I actually get irritated when people are hanging around me just because I'm in a band and that. When people are right into the music and have something decent to say then that's a great feeling. Though these people are often shy and reserved but I like that. We couldn't go on writing lyrics the way we do and then act like Motley Crue or something. We are honest, realistic men and when met with honestly, it's a great feeling.

Would it be a mistake to say that you have moved away from the more conventional sound of heavy metal, or would you still like to play music heavier than what Antimatter writes?

I like heavy music, but I haven't done a metal album since The Silent Enigma, which was a long time ago already. I wouldn't mind doing a really heavy album, but it certainly wouldn't be conventional heavy metal.

At last, if you don't mind, since you played in one of the more influential doom metal bands out there, I will name a band that has once played or still plays that genre of music, and you tell me the first things that come to mind:

My Dying Bride: Second and third albums were good. Nothing too special has come since, but they are still at it and you must respect them for that.

Mourning Beloveth: Good friends of mine in Ireland. All I think about is booze and drugs when I see this name. Oh and Frankies moustache.

Anathema: Talented but scatty lads who have rode their luck in recent years. I've a feeling the new album will be killer though.

Daylight Dies: I didn't see much of them at the gig I was at, but took them to a club in Dublin and they were nice lads.

Katatonia: Dunno too much about them, really. They were ok live, but I don't really know their songs well.

OK, Duncan, this is it for me. Thank you, and good luck in all your future endeavors.

Cheers!