Planetary Confinement

Editorial Reviews

All Music Guide - Eduardo Rivadavia
If it doesn't wind up signaling the very end of Antimatter, Planetary Confinement will, at the very least, close a chapter in the fruitful partnership between core members and songwriters Mick Moss and Duncan Patterson, the latter of whom announced his departure shortly after their third album's release in 2005. Tellingly, the duo never actually collaborated on these recordings, rather going about their sessions at separate dates and locations, and with entirely different casts of supporting musicians, then simply intercalating them for the final album release. That they ultimately mesh quite nicely even so is of little comfort pending further clarification about the ...
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Editorial Reviews

All Music Guide - Eduardo Rivadavia
If it doesn't wind up signaling the very end of Antimatter, Planetary Confinement will, at the very least, close a chapter in the fruitful partnership between core members and songwriters Mick Moss and Duncan Patterson, the latter of whom announced his departure shortly after their third album's release in 2005. Tellingly, the duo never actually collaborated on these recordings, rather going about their sessions at separate dates and locations, and with entirely different casts of supporting musicians, then simply intercalating them for the final album release. That they ultimately mesh quite nicely even so is of little comfort pending further clarification about the band's future, but given the circumstances, it's worth noting that Antimatter's "gray album" their previous two outings being characterized by distinctly near-full-white and black cover artworks loses little in the way of overall quality. Both men continue to write songs of striking, economical beauty, though Moss tracks like "The Weight of the World" and "A Portrait of the Artist as a Young Man" rely almost exclusively on chillingly stark and circular acoustic guitar figures occasionally spiced with violins, while Patterson's delve in rather more varied see the organs used in "Relapse" and often ambiently electronic sounds, particularly in the instrumental pair opening and closing the LP. What common ground does survive between the two parties is most evident in their lingering use of female vocals, though former collaborators Michelle Richfield and Hayley Windsor have also sadly been jettisoned from their midst. Here, they've been replaced by one Sue Marshall for Moss's best offering, the quite stunning "Legions," and Amélie Festa for all of Patterson's vocal offerings, which include the aforementioned "Relapse," the wonderfully melancholy "Line of Fire," and maybe best of all, a creepy-cool cover of the Trouble nugget "Mr. White," totally reinvented for these sparse surroundings. After that, all that's left to observe is that Planetary Confinement continues Antimatter's gradual replacement of synthetic music styles electronic, techno, dub with far more organic instrumental approach -- making for a fittingly somber finale should the band really be over.
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Product Details

  • Release Date: 7/26/2005
  • Label: The End Records
  • UPC: 654436005926
  • Catalog Number: 59

Album Credits

Performance Credits
Antimatter Primary Artist
Chris Phillips Drums
Sue Marshall Vocals
Stephen Hughes Bass Guitar
Michael Moss Acoustic Guitar, Vocals
Rachel Brewster Violin
Mehdi Messouci Keyboards
Amelie Festa Vocals
Barry Whyte Guitar
Alex Mazarguil Djembe
Micheal O' Croinin Drums
Duncan Patterson Acoustic Guitar, Piano, Bass Guitar, Keyboards
Technical Credits
Gianni Skolnick Mastering
Mick Moss Cover Design
Michael Moss Audio Production
Ronnie O'keefe Audio Production
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