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ANTIMATTER

Experimental/Post Metal • Multi-National


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Antimatter biography
Formed in Liverpool, England in 1997

Antimatter was formed by ex-Anathema bass player and song writer, Duncan Patterson, and Mick Moss, a musician who had up to that time, played with several unsigned bands. As a pair, Patterson and Moss released three albums together: Saviour, Lights Out and Planetary Confinement. Shortly after the completion and release of the third effort, Planetary Confinement, Duncan Patterson left the pair to form his own group, Íon. Continuing without his former partner, Mick Moss kept the project alive, releasing its fourth and most recent album, Leaving Eden, with current Anathema guitarist Danny Cavanagh.

The first two albums released by this collaboration were made with a musical focus on melodic, layered vocal lines and an often borderline techno melancholic rock sound, with ambient post-rock overtones. This was often achieved by using techniques such as layering the vocals of female guest musicians to create an eerie effect and ambience. Acoustic guitar riffs and rhythmic sections also helped to give this duo their unique sound. After the departure of Duncan Patterson from the project, the sound rapidly changed and evolved, now developing a more metallic based sound brought on by Danny's input. The early atmospheric sounds are now mostly gone, replaced with a more guitar oriented rock sound, which has earned the band a favor amongst prog metal lovers the world over.

Antimatter is easily recommendable to fans post-metal, post-rock and prog metal, their two most recent albums containing a sound akin to Anathema, Porcupine Tree, Katatonia and many other rock groups with atmospheric overtones.


(Biography by Joel G, Australia)

ANTIMATTER Videos (YouTube and more)


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Antimatter Vs. AntimatterAntimatter Vs. Antimatter
Asphodel Records 2003
$12.98
$12.39 (used)
Leaving EdenLeaving Eden
Limited Edition
Prophecy 2017
$11.85
$11.74 (used)
Fear Of A Unique IdentityFear Of A Unique Identity
Prophecy (Dismanic) 2013
$9.27
$5.99 (used)
The Judas TableThe Judas Table
Prophecy 2015
$12.25
$10.99 (used)
SaviourSaviour
Prophecy 2006
$10.98
Planetary ConfinementPlanetary Confinement
Prophecy 2006
$13.90
$12.96 (used)
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ANTIMATTER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ANTIMATTER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.58 | 50 ratings
Saviour
2001
3.66 | 57 ratings
Lights Out
2003
3.14 | 49 ratings
Planetary Confinement
2005
3.99 | 88 ratings
Leaving Eden
2007
3.67 | 76 ratings
Fear Of A Unique Identity
2012
3.81 | 54 ratings
The Judas Table
2015
4.08 | 30 ratings
Black Market Enlightenment
2018

ANTIMATTER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.85 | 13 ratings
Live @ K13
2003
3.73 | 11 ratings
Live @ An Club
2009

ANTIMATTER Videos (DVD, Blu-ray, VHS etc)

ANTIMATTER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.17 | 6 ratings
Unreleased 1998 - 2003
2003
4.30 | 10 ratings
Alternative Matter
2010

ANTIMATTER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.57 | 7 ratings
A Dream For The Blind
2002
4.00 | 4 ratings
Welcome To The Machine / Too Late
2016

ANTIMATTER Reviews


Showing last 10 reviews only
 Black Market Enlightenment by ANTIMATTER album cover Studio Album, 2018
4.08 | 30 ratings

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Black Market Enlightenment
Antimatter Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars The Liverpool, UK based ANTIMATTER has been the long time project of Mick Moss who took the reins after fellow founder Duncan Patterson parted ways in 2005 leaving Moss as the sole director of the project's destiny. While the earlier albums were a quirky mix of dark electronica with Goth rock-tinged trip hop graced with feminine goddess vocals, the newer releases since 2012's "Fear Of A Unique Identity," has found Moss going more into the alternative rock arena with the complexities getting more sophisticated leading him into the progressive rock world. It's been three years since "The Judas Table" and ANTIMATTER is back with BLACK MARKET ENLIGHTENMENT which continues the trend of mixing borderline heavy alternative rock / Goth metal with progressive almost neo-prog symphonic splendor.

While the previous album had a more stripped down effect, BLACK MARKET ENLIGHTENMENT expands the dimensions of the elements set forth once Moss essentially went solo. This album's theme is that of drug addiction and tackles the extremely heavy subject matter in the lyrical department while creating a dark and lugubrious musical backdrop to push it forward. The material is some of the most complex that ANTIMATTER has done with a sense of melancholy that hangs over the album like a lingering black cloud but very effective indeed as the impeccably produced mix and excellent compositions create one of the rare instances where Gothic rock and progressive rock work so well together. This is surely one of the most tense listens of the year as it walks a tightrope between complete emotional breakdown and a sense of suppressed rage waiting to explode but somehow keeps its cool throughout its run.

While Mick Moss is the sole member who plays acoustic and electric guitars, keyboards, bass and provides vocals, BLACK MARKET ENLIGHTENMENT also adds four extra musicians providing flute, saxophone, drums and a traditional Iranian bowed string instrument called the kamancheh (also kamanche, kamancha or qamancha.) There are also two female vocalists that provide a feminine touch on backing vocals. While the creepy mid-tempo music adds an almost shoegazy sort of guitar distortion with Moss' Gothic vocal style leading the way, the Middle Eastern percussive drives and the kamancheh take the music to an eerie new world where various strains of reality intersect in an unfamiliar way. The synthesizer rich darkwave atmospheric overcast keeps this one in the clouds like a perpetual brain fog that is tuned into some foreign radio station that is set to sadness.

Like most Gothic related music whether it exist in the extremities of metal or the more sensual touches of the Nick Cave camp, this music is eerily romantic and fragile. While the music generally creeps along, the Middle Eastern drumming can become energetic especially on tracks like "Essential," and while the guitar heft is mostly reserved as an atmospheric generator with echoey distortion, it is also implemented to create some metal riffs that chug along to add a sense of crescendo to the mostly stoic and detached emotional tug of war. Moss' vocal style is very limited as he sings in a low register but has mastered the art of eking out emotional responses with subtle vocal vibrato and tantalizing trills. While BLACK MARKET ENLIGHTMENT has been accused of moving more to the world that Anathema (which ironically ex-founder Duncan Patterson played in) has carved out and there is some truth to that, the mood remains more reserved and much more dependent on the darkwave synthesizer dominated atmospheric touches to convey its overall plan.

With utterly addictive composiitons that are instantly catchy and a nice interplay between the sensual acoustic, heavy electric and atmospheric elements, BLACK MARKET ENLIGHTENMENT qualitatively connects the listener to the subject matter and draws you into the bleakness of the grimy world of substance abuse. The instantly catch tracks will hook you immediately but the sophisticated and subtle mix of the swirling storm of sonic interplay will keep you coming back for more. This album is considered heavier than previous ones and offers just enough bombast to create the perfect corrivalry of musical elements. ANTIMATTER is not only back but seems to be getting better with each new album. Favorite track: "Between The Atoms" which also happens to be the longest.

 Saviour by ANTIMATTER album cover Studio Album, 2001
3.58 | 50 ratings

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Saviour
Antimatter Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

3 stars This is where it all began for ANTIMATTER. Former ANATHEMA bass player Duncan Patterson teamed up with the talented Michael Moss to create this atmospheric music with plenty of electronics and samples.They have two guest female singers who share the vocals. So female vocals are on every track.

"Saviour" has a good drum intro then it settles quickly with female vocals before kicking back in as contrasts continue. "Holocaust" features vocals that almost seem processed early on. It's dark with percussion and other sounds. "Over Your Shoulder" has both male and female vocals although the female is leading.Sparse percussion is helping out. "Psalms" has vocals a minute in with a beat and some atmosphere. Bass later. "God Is Coming" has this atmosphere with whispered vocals. It kicks in before 2 minutes after she whispers "God is coming". A strong electronica flavour here.

"Angelic" features this gentle guitar as vocals join in. Sampled violin-like sounds 2 minutes in and to end it. "Flowers" is mellow with vocals.This is very melancholic. Some brief outbursts come and go. "The Last Laugh" is my favourite. Male vocals lead on this one with female vocals helping out. Some prominant guitar in this one too for a change. Lots of atmosphere with a beat. It kicks in louder late. "Going Nowhere" has female vocals to start only then we get this cool sounding keyboard, percussion and guitar soundscape which creates lots of atmosphere.

I really like how the album ends with those two closing tracks but for my taste it doesn't measure up well against the follow-up "Lights Out". Better than "Planetary Confinement" though. 3.5 stars.

 Planetary Confinement by ANTIMATTER album cover Studio Album, 2005
3.14 | 49 ratings

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Planetary Confinement
Antimatter Experimental/Post Metal

Review by Bonnek
Special Collaborator Prog Metal Team

2 stars Antimatter is running out of fuel on their third album. In terms of sound and style, the band still shows a will to redefine themselves, but when it comes to songwriting and creative energy, this album leaves much to be desired.

After short intro, we are introduced to the new Antimatter sound, which is very bare and acoustic. There's still a strong Anathema feel to it. Especially the violins bring Alternative 4 to mind, but in a more subdued and reflective mood. It's a beautiful gloomy song. Also Line Of Fire shows the band in fine shape. The female vocals offer some variety in sound. The arrangement is very desolate, only slow acoustic guitars, echoing effects and piano are used. Halfway in, I kind of got the idea, so the instrumental second half with percussion that follows is hardly necessary.

With Epitaph starts a string of average material where each individual song still has enjoyable elements but where the whole lot of them is really off-putting. A feature that particularly annoys me on this album is the numbing sameness of it. If you play the first 15 seconds of The Weight,Epitaph,A Portait,Legions and Eternity you get 5 times the exact same acoustic picking on the exact same chord. Worst of all, that picking has a too familiar ring to it. I'm quite sure I've heard this somewhere before.

Not bad as a collection of campfire songs to impress girlfriends. Just don't play all of them consecutively or you risk dozing off and setting your date on fire. Literally, which doesn't come recommended. 2.5 stars

 Lights Out by ANTIMATTER album cover Studio Album, 2003
3.66 | 57 ratings

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Lights Out
Antimatter Experimental/Post Metal

Review by Bonnek
Special Collaborator Prog Metal Team

3 stars After the gothic trip hop debut, Duncan Patterson and Michael Moss returned with a more organic sounding album. The hand from trip hop can still be felt, but it is a dark and looming hand, casting a sombre and colourless blanket over the mood.

The great thing about it is that it doesn't need any of the overtly dramatic or pathetic tricks that goth rock often resorts to. The sound is mostly sparse, featuring soft warm vocals and some moody piano, acoustic guitars and modest rhythms. The vocals duties are split between the male and female vocalists. The female vocals are excellent and Moss has a modest but touching voice that is slightly similar to other cheery vocalists such as Kevin Moore and the Cavanagh brothers from Anathema.

An album with sparse musical arrangements as this one has to go on the intensity of its mood and the qualities of the song writing. Unfortunately, the mood can get a bit monotonous after a while, all songs are a bit too similar and not all of them manage to appeal to me equally. The album highlights are Everything You Know, Expire and Dream.

Fans of Anathema who haven't checked out this band yet must sure give them a try, but I doubt they have the potential to win over anybody else. Still, if you're in need for a decent album with nice moody rock songs, this might be the one. 3.5 stars.

 Saviour by ANTIMATTER album cover Studio Album, 2001
3.58 | 50 ratings

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Saviour
Antimatter Experimental/Post Metal

Review by Bonnek
Special Collaborator Prog Metal Team

4 stars Anathema bass player Duncan Patterson left the band after their first masterpiece Alternative 4. When he went on to start his own project Antimatter, fans must have been torn between desperation and hope. Patterson was known to be a big contributor to Anathema's sound and songwriting. So would they be able to continue without him? On the other hand, if everything went well, maybe the Antimatter project would just lead to another possible favourite?

I guess the answer to the first question is quite clear, Anathema continued as if Patterson never left and released two more masterpieces. But what about Antimatter? When their debut Saviour turned out to be an electronic pop record with a high trip-hop factor, I can only guess it was the last thing fans expected. And going by the number of ratings so far, it's probably the last thing they were waiting for.

Now, while the musical form is very different from Anathema's Alternative 4 and has absolutely nothing to do with prog rock (no matter how broad you define it), the mood and quality of the music is easily as excellent. With a battery of samples, electronics, trip-hop rhythms and two angelic female vocalists, Antimatter have crafted an outstanding collection of sad dreamy pop songs that should easily appeal to all fans of Massive Attack, Portishead or Cocteau Twins. It's not highly original but outstanding throughout.

There are many highlights to consider, but Psalms, Over Your Shoulders, Angelic and The Last Laugh are certainly worth checking out if you like melancholic quality pop with light gothic flavours and sensual vocals in the style of Tracey Thorn, Elisabeth Fraser or Beth Gibbons (need I mention the bands?).

There are some experimental songs as well, such as the cinematic epic God Is Coming. It's such an ominous and threatening piece that even I could be let to believe that God will actually be coming any day now. Also Going Nowhere goes a bit further then the straightforward verse-chorus songs around it. There's a brooding post-rock taste to it that comes close to the type of songs Antimatter would write for their second album.

Saviour is a unique and unexpected release from someone with Anathema credentials. It's the only album Antimatter would do in this style and my favourite release of theirs. While not highly original, I confess playing this almost as frequently as Massive Attack's Mezzanine.

 Planetary Confinement by ANTIMATTER album cover Studio Album, 2005
3.14 | 49 ratings

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Planetary Confinement
Antimatter Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

3 stars This would be former ANATHEMA member Duncan Patterson's final album with ANTIMATTER. He would leave after this one while Mick Moss would keep the band going and release another album. This album is a strange one in that Mick and Duncan refused to work with each other at this point, so we get two different lineups each headed by these two men. So these songs were recorded in different places at different times. Weird. All the odd numbered tracks are Duncan's and have mainly female vocals, while the even numbered are Mick's and feature mainly his vocals plus violin. It is very surprising how these songs mesh so well together.They're on the same page whan it comes to this melancholic, acoustic style of music that's for sure.

I much prefer the previous album "Lights Out" because that one is all about the atmosphere and mood, while this one comes off too acoustic and samey. It's also very melancholic as I mentioned.The highlight is without a doubt the final track "Eternity Part 24" which is completely different from the rest. It starts out similar with the acoustic guitar but then a minute in we get drowned in atmosphere. Kind of like a spacey Klaus Schulze track. Very cool.

Worth 3 stars but nothing more in my opinion.

 Lights Out by ANTIMATTER album cover Studio Album, 2003
3.66 | 57 ratings

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Lights Out
Antimatter Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

4 stars After Duncan Patterson left ANATHEMA he formed ANTIMATTER with Mick Moss.They both share in the vocals, keyboards, bass, programming, guitar and lyrics. Duncan was with ANATHEMA from the beginning and left after "Alternative 4". He does get some help on percussion from Jamie Cavanagh who would eventually go on to play in ANATHEMA with his two brothers. The music here is laid back, atmospheric, dark and melancholic. I really like the mood here, and there are both male and female vocals.

"Lights Out" opens with these sirens that go on for a while then it settles with lots of atmosphere. Sparse keys here too before the male fragile vocals join in after 1 1/2 minutes. Acoustic guitar comes in as the atmosphere disolves. It's back though before 3 minutes with sparse keys,faint female vocals,acoustic guitar and electronics. Great tune. "Everything You Know Is Wrong" opens with keys as reserved male vocals join in. A nice rich sound before a minute as it gets fuller. Contrasts continue. Spacey synths are prominant late. "The Art Of A Soft Landing" opens with atmosphere as sounds come and go. Female vocals before a minute. Synths after 1 1/2 minutes. Drums become prominant as male vocals help out. It kicks in at 3 minutes with the electric guitar making some noise. Great sound ! Piano only a minute later.

"Expire" opens with piano that sounds like it's being played in someone's cold, dark basement. Percussion, bass, keys and synths follow. This is good. Female vocals join in as well. After 4 minutes she keeps saying "I've a solution, final solution" over and over with piano, percussion and atmosphere right to the end. "In Stone" opens with piano, percussion and keys. Male vocals join in and acoustic guitar as well. It kicks in after 2 minutes. Settles again around 3 minutes as vocals stop and atmosphere rolls in. Piano is slowly played then these spoken words come in. It picks up again after 5 1/2 minutes. Nice bass too. "Reality Clash" opens with almost whispered words and synths. Drums and bass after 2 1/2 minutes and male vocals join in. A calm a minute later. "Dream" has more energy but it's still mid-paced as piano, bass, drums and atmosphere dominate. Female vocals arrive as it settles. Contrasts continue between the fuller sections and mellow passages. Lots of synths and percussion late. "Terminal" is the closing instrumental. Laid back with acoustic guitar to start. Piano and atmosphere follows. Powerful sounds start to come and go before 4 minutes. It settles late to end it.

I like this style of music. It's a nice change once in a while to veg out to with headphones on.

Thanks to progkidjoel for the artist addition. and to Quinino for the last updates

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