English | Grace Road - Duncan Patterson Interview 2020

For the reader - DP: Duncan Patterson – JG: Juan Guerra – JC: Juan Carvajal – AL: Aura López

*For Spanish please click on the next link: https://notasdeunfan.blogspot.com/2020/02/grace-road-entrevista-duncan-patterson.html

Exclusive to Anathema Colombia, we share this interview with Duncan Patterson who tells us about his new musical project with which he will return for the year 2021, we hope this is for you a pleasant answer to all the questions that for 5 years have been living in your heads.

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Hi Duncan, it is a pleasure for Anathema Colombia to have the opportunity to talk about new musical project you are working on, in advance we want to give you the Thank you for contacting us to achieve this interview

Let's do it!

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AL: ¿What has been of your life during the last 5 years?

DP: In 2015 I was part of the Anathema Resonance Tour with the original vocalist Darren White. The setlist went back in time, started with the band's more recent songs and regressed back to the first album during a 3hour set. They were great nights in big venues and a big production. Roadies doing everything for us, so everything was set up and ready every night. Was great to play with everyone again, and probably the last time we will all be on the same stage together, so it was some kind of closure in a way. 

After the tour I continued working on The Eternity Suite, which is a selection of tracks from the Eternity album plus unreleased music that had been around for years, all played in a soundtrack almost classical style. I had set up a crowdfunding thing for the release through the now defunct Pledge Music. After the release I flew to Mexico where I have been staying ever since. There were problems with payments, and a number of missing orders, which coincided with the main directors of Pledge Music leaving the company. I managed to ship the remaining orders personally from Mexico but again a number of them went missing. I offered refunds via the company for any missing packages, so I was never paid the amount raised by the crowdfunding campaign. Since then they have gone into administration, which I only found out about recently, with huge amounts of money being withheld from artists.

After that I had some serious personal issues here. I was stuck without a place to live for a while, no passport or clothes. Maybe not "rock bottom" but something close. I met a great guy who owned a bar who used to let me sleep there if I needed to, the problem was that I was in there drinking daily. I had lost all interest in making music and my days consisted of battling against anxiety and hangovers. Dark, dark days but I got through it all with time. Then a good friend and I got struck down by a virus. The doctors said it was similar to dengue fever, but they still needed to do more tests. It took months and months to recover from it. I had brain scans, eye pressure tests and all kinds of exams and I still don’t know what caused it. I stayed here in Monterrey, did a bit of DJ work and talked to people about doing music again but I never felt that the energy would return. I was basically just getting by, drinking to swerve the boredom of daily life, then I found out my girlfriend was pregnant. Around the same time Danny Cavanagh invited me to tour with himself and Vinny in Latin America, January 2019. This was my first tour since the Resonance reunion in 2015. The tour was a success and very fulfilling for me, but I still wasn’t sure if I’d ever get back into creating music again. In May 2019 Duncan Francis was born. By then I had quit drinking and have been a full-time father. After a few months of clean living I picked up the acoustic guitar again and started to revisit some unfinished work.

JC: Congratulations for your little son Francis, now being a father has been an inspiration for staying clean (no drinking), making music again, healthy eating, etc.?

DP: Thank you. I probably eat more unhealthily now since I stopped drinking haha. Well I found a new liking for sweet things that I never had previously. I’ve been very health conscious for a long time though, at least when it comes to food, which has probably kept me alive to be honest. As for the music, I thought it had gone. I was very doubtful about whether I would ever get the energy back. Since I was 16, I was always in creative mode, 100s of ideas daily. And that carried on despite all the obstacles that I have had thrown in my way. Then when all the shit happened in 2015/16, I just became numb. I was in survival mode for years. If I hadn’t had been drinking, I would have been on antidepressants, which is something that I have always swerved. I remember Vinny calling me about two years ago telling me I needed to start playing again and trying to motivate me (thanks mate). I was sat outside a bar with a bottle of tequila like "Yeah, maybe one day I'll get the energy back" but deep down I really didn’t think it was going to happen. Then we ended up doing the Latin American tour last year. That was the first time I’d even seen my bass since the Resonance Tour in 2015, the lads brought it over from Europe for me. Those gigs reminded me that I should be playing music again. Then my son was born a few months later and I looked after him 24 hours a day, lots of sleepless nights. Now that he is a bit older, I have more time for myself. Reading a lot and making plans for myself for the first time in years. I read a lot of autobiographies and interviews, and I read something in an interview with Ray Cappo that resonated with me. He was talking about his family and his 'legacy', and that his legacy is his music and his books. I don’t want my son to feel sorry for me. That his dad was unlucky and allowed other people to fuck him over and not do anything about it. I only have one chance to get this right and I want to leave a legacy for him to be proud of.

AL: Why Mexico? What did you like about that country to determine to live there?

DP: I’ve been visiting Mexico for many years. I like it here, it’s a simpler way of life than I had in Europe. I didn’t really plan on living here but when I was stuck here in 2016, I really couldn’t face getting on a plane, even when my passport was returned. A good friend of mine had a spare room in his apartment and asked if I wanted to move in. That was a good move for me as I had known him for many years and felt safe there. I did go back to Europe in late 2016 to visit my mother. I was still in recovery mode then but had no problems flying long distance. Now I’m here with my boy and I have no plans to leave him.

AL: I can assume that after seeing your baby Francis, many aspects of your life have changed and it occurs to me to ask you, how do you feel today physically and spiritually, with you and with your new family?

DP: Physically, I need more sleep haha, and I still have a few health problems that I need to monitor. Spiritually, I am more positive and feel like I am really healing.

AL: Going back a bit to the past, I was reading some descriptions made in 2011 about Íon's record work and, in fact, he felt enormous progress in that project... What happened to Íon and why didn't you continue with that project?

DP: I started writing the Íon stuff around the time that the Antimatter project came to an end (Mick Moss kept the name in 2005 for his solo project). Id decided to walk away from the whole thing and do something more positive. I was living alone at the time in a farmhouse in rural Ireland. A lot of meditation and searching for inner guidance. Reading a lot of Buddhism, Taoism, stuff about controlling negative thoughts, Louise Hay and that. Anyway, I started working on the first album Madre, Protegenos. I sent a few instrumental demos to Equilibrium Music and they offered me a deal. I was searching for musicians to get involved and try and to create some magic in the studio, but it was really difficult. I met with a number of musicians who said they were interested, but the reality was that they didn’t bother learning the songs and brought nothing to the table. A girl called Emily Bly flew over from the USA and recorded the flute and clarinet parts. She was the real deal, even knew the guitar parts and everything, that was really great but unfortunately a rare occurrence. Then a Russian girl called Emily Saaen got in touch and played me some of her tracks. She ended up singing most of the album tracks and did a great job. Anathema had a tour booked in Turkey and needed a replacement for Lee Douglas, as Lee had something else happening back home, and Emily ended up doing 3 gigs or so. We lost touch after that, but I continued to search for musicians for the 2nd album and to take it out on tour. I ended up recording the 2nd album Immaculada in Portugal. I had better luck with musicians this time around. A young French lad called Colin Fromont flew over to play drums and percussion. He had everything figured out in advance and was a great player. A Turkish violinist Gokce, who had played with Vinny Cavanagh and myself in Istanbul, she recorded some great stuff for the album. While I was in Portugal, I befriended more musicians who provided the flute, cello and Portuguese guitar parts. An Irish singer called Lisa Cuthbert contacted me as she knew I was looking for a vocalist. Lisa did some great work on the album, bringing in her own ideas for harmonies and stuff. By the time the album was released, the main guy from the record label had quit and the contact became very sparse. I don’t recall if I did any interviews that were arranged by the label, so I ended up working hard trying to get press coverage myself. I still planned on playing live with the project though and started to speak with promoters. I received the usually crap from some like "we can make this a kind of Anathema tribute night?" but I received a few decent offers and South America was looking likely. While I was making plans about the lineup Lisa and Colin had already invited to play with 'Antimatter' and they ended up recording and touring together. After that I just gave up trying.

JC: Can you explain us like a difference from all your solo projects? e.g. Ion, Alternative 4, The Eternity Suite, your next project, not just musically talking, but like the concept, lyrics meanings, moods while recording them, etc.

DP: With the Íon stuff I wanted to do something do break the negativity of my previous records. I felt free and didn’t care about the parasitic people that had always surrounded me as a musician. Yet I still managed to attract them to the project. I was also playing with an Irish band called The Aftermath at the time, kind of like a session musician/friend who played bass and liked their songs. We also played at weddings, events, hotels as well as original gigs. That was a brilliant time for me. Playing in a functioning band under no pressure. I didn’t have to teach anybody how to play anything, didn’t have to book flights/coaches/hotels. All I had to do was learn the songs and enjoy playing them live. My happiest days of playing music, great memories. So, I was feeling very fulfilled with that side of things, performing and communicating etc. and at the same time I had all of my creative energy for the Íon project and the spiritual, more positive side of me.

After the second Íon album I started Alternative 4. This wasn’t a solo project; it was a functioning band. The lyrical themes were based on the abuse of power, injustice, people not thinking for themselves. It always felt like hard work though. It was supposed to be something more political and rebellious, but it was really just me trying to convince to other guys to be like that, and they weren’t. They should have told me that in the beginning though.

The Eternity Suite was a return to old compositions, with a few unreleased pieces added. I wasn’t in a good place when recording it though. I plan on taking it outlive next year, which I’m really looking forward to.

JC: Regarding the money you have spent in this solo career, do you still receive royalties from your previous bands? (for selling’s albums, playing your songs, music apps?)

DP: Of course, that’s how it works. But I have spent a lot of time chasing missing payments and correcting errors on royalty statements. I have ignored it for the last few years though and only recently started sorting out all my accounts. I have had no correspondence regarding the Íon stuff for years. That’s something that needs sorting out asap. A lot of my music gets used on TV around the World, as it has its cinematic moments, I get paid for that too. I still make a living from music, so it hasn’t all been a waste of time. Its fulfillment that I am searching for though. Creating things that I will be able to look back at and be proud of.

JG: It generated an interest in me to find information about the opportunity that you had to work with Mark Kelson awesome musician and now he has his band called The Eternal; did you ever think maybe to re-record something together or have a project in common?

DP: Mark and myself had been speaking about recording together for a long time. I had this idea to do a concept album 'Operation Condor' about Kissinger and the dictatorships in Latin America, many years ago. Mark was really into the idea, but we never ended up doing anything. Then one day in 2010 I was revisiting some old pieces of music that I had written and decided to try and form a band. Nothing really full time with intense touring, but like an album every two years and a tour to support it. I asked Mark if he wanted to play guitar and a drummer called Mauro Frison who Id met and played with in Buenos Aires. The original plan was to have a guy who I met in Santiago, Chile to sing but it never got any further than an idea. I recorded a few home demos and started working on lyrical concepts and that. While I was trying to think of a band name 'Alternative 4' came straight into my mind. I started speaking to a few labels and Avantgarde Music in Italy offered us a deal. We then recorded the album 'The Brink' in Ireland, Australia and Portugal. Mauro was living in Dublin, so we recorded the drums, bass and piano parts in Ireland. I flew to Melbourne, Australia to record the guitars and vocals with Mark, who ended up being the main vocalist on the album. Then flew to Portugal to finish the rest and mix the album with a guy called Paulo Baslio, who ended up touring with us as a 2nd guitarist. The album was released but there was a lack of communication with the label and virtually no press (see a pattern here?) so I waited a while and finally got a reply that the label boss was having problems and couldn’t promote the album properly. Prophecy Productions had already been interested initially so I spoke to the boss and he sorted out the contacts with Avantgarde and re-released the album. It got a decent response and we did a European tour in 2011. After this I started writing the 2nd album and wanted the other guys to be more involved. We regularly chatted online about it and we decided it would be a good idea to bring in a 2nd vocalist/guitarist. The music that I had written was ideal to have vocalists exchanging verses then coming together in parts. I had been explaining the concepts of the lyrics too, and I was quite surprised that the other lads had no idea what any of the songs were about, from either album. For them, lyrics were just nice words put together to fit with the music. 

A guy called Simon Flatley got in touch with me and sent a demo of his. I played it to the others, and we all agreed that he would be a good addition to the band. I went to meet him, and we chatted a lot. He is a very intelligent lad and was really into the lyrical concepts etc., so that was a really positive thing for me. We all went to Ireland to record the 2nd album 'The Obscurants'. There was tension in the studio as Mark had a problem with Simon being there, and he didn’t hide it well. I tried to keep everything calm, but it wasn’t easy, and it really affected the creative process. The songs still sounded ok but needed more work doing. We had a European tour booked straight after the studio sessions, with the first gig being in Dublin. Simon didn’t do the tour with us, but it was clear that Mark wasn’t happy. After the final gig in Krakow we spoke and agreed that it wasn’t a good idea to continue in that way. I took the lads to a nearby club and I went straight to sleep. I haven’t seen Mark since. After that I gave up trying to find another vocalist, so Simon re-recorded the parts that Mark had originally done. We were given a deadline to get the mixing/mastering/artwork done so that the album would be released in time for two gigs with Anathema in Ireland. I had everything booked, flights, hotels, musicians, equipment, transport all paid from my own pocket. A few weeks before the Irish dates I received an email from Simon telling me he didn’t want to play music anymore and was more interested in gnostic religions. So that was that. I 'officially' disbanded Alternative 4 last month but really it ended that night in Krakow in 2012. A year and a day after our first gig.

Simon Flatley | Mauro Frison | Duncan Patterson

JG: As you tell us, there was always a good energy between you and Mark Kelson, and you both did good work and projects, beyond the problem you had with Simon, you never thought about contacting Mark again and talking for doing new things?

DP: As friends we got along great, it just didn’t work being in a band together. We both make music for different reasons and have different ideas about how to go about things. It took me a few years to discover that he had no interest in the lyrics that he was singing. For some people I’m too 'serious' about music and my stance on the music industry etc. And I don’t think a lot of people who were never involved in underground music really understand it. I come from a scene where bands exchanged demos, tape traders, underground labels and fanzines, promoters etc. It was healthy, people supported each other as opposed to being in some sort of competition or race to be 'famous'. As Anathema became more commercially 'successful' I realized that I didn’t belong in that area of the music business. I get way more fulfillment by doing thing independently, and this is something that I have reiterated for over 20 years in my interviews, conversations with people who like my music, conversations with bandmates, and more importantly in my actions. Yet people still have difficulty understanding it. I think it’s mostly to do with what became of the scene that I was in though. Bands like Paradise Lost, Opeth etc. really played the game for commercial success and I get lumped in with that because I was in Anathema 22 years ago. I do understand that people who only latched onto that scene when it became commercial will never really understand its origins, but I do try to explain. It’s probably my accent that’s the problem.

AL: A year ago, the ‘Acoustic Resonance Tour’ tour was held; What expectation did you have at time to return to the stage with Danny and Vincent on that tour? And as you did you feel during and after it?

DP: I’ve played with those lads many, many times so there were no extra special expectations, it was great for me to be playing some new places though. I’d never played Guadalajara, Bogota (or anywhere in Colombia), or Florianopolis before. I played Buenos Aires and Santiago in 2010 and Sao Paulo back in 1994 so it was also nice to be returning there. The tour went well. Vinny really looked after us, setting all the gear up and basically sorting everything out. Both Danny and myself had some personal problems going on at the time, so we were trying to escape/deal with all that while we were away, but the gigs were a great way to change the mood.

JC: Just one last regarding Anathema (as you were involved), you talked about a big production while the Resonance Tour, do you know if Daniel or any of the guys thought about doing a DVD for these shows? , there are some really good videos on YouTube from these shows.

DP: It was discussed early on, but it would have taken a lot of planning to do, and I’m not sure it would have been a good move for them career-wise. It took a long, long time for the lads to break the 'metal band' hoodoo and I can imagine them being quizzed about making a return to the roots and stuff like that. I’m fine with the YouTube videos from it. Darren has some other footage and photos from the tour. Ill pester him for it for my YouTube channel. I also have some priceless video footage from the Eternity European Tour and the recording and mixing sessions for Alternative 4.

AL: What do you expect to find after the return to the music industry?

DP: My plan is to stay as far away from the industry as possible, but I am going to have to use certain platforms to get the music out there and available. I have a lot of contempt for the music industry and I wish more people understood how it really works. One of the reasons I quit Anathema in 1998 was because I wanted out of the industry. The irony is that, since then, I have been in bands with people who were more motivated by money, attention, and commercial success than Anathema ever were when I was in the band. I was battling against the superficially side of it all, while not only enabling, but actually aiding some of the worst glory hunters that I’ve ever come across in my life.

AL: How do you plan to show people or in this case, your followers, how does this music industry work and why do you want to be at the limit of it?

DP: I’ve been talking about it for the past 20 years. I’m not planning to show anyone anything, I’m just making things clear from my perspective. The concept of being a real 'independent musician' is lost on most people. Basically, I don’t like the music industry. I don’t like how things work within the big magazines. I don’t like the way big labels and management companies try to monopolize everything for their bands. I don’t like how a lot of musicians feel superior to the people who are paying their way. Yet this is all enabled by 'fans', consumers. I just wish people were more aware of how things work within the industry. I remember years ago the first Antimatter album was voted by journalists to be Album Of The Month in a big European music magazine but it went to another band instead, solely because their record label had purchased advertising in that magazine in exchange for 'favor’s'. This wasn’t a band on a major label either. I know 100s of similar stories.

JG: What kind of platforms do you plan to use to have your music available? We have seen that some ION album is available on Spotify, what do you think about this type of platforms such as Spotify, Deezer, etc.?

DP: I didn’t release the Íon albums, Equilibrium Music did, and they used a digital distribution company for online stuff. For the Eternity Suite I released it digitally with a distribution company who deals with iTunes, Amazon etc. which is basically all that a record label would do. I’d rather have my music on there than not. I can’t expect everyone to listen to my music on cassette in their bedrooms, complaining about capitalism and burning their Opeth meet & greet tickets. But seriously I am talking with people about the best way forward with this. I want everything to be in the same place.

AL: You could tell us something about the new projects and what awaits us at the musical level since 2021 on your part?

Grace Road - Liverpool

DP: I’m just going to use my own name in future for my releases. In hindsight, it’s something I would have been better doing 20 years ago but I wasn’t to know how things would turn out. The album that I’m currently working on is called Grace Road, which is the name of the road in Liverpool where I lived when I was born. I wrote a lot of the music before I recorded The Eternity Suite but, apart from 2 recordings, it’s been locked away in my brain for over 5 years. I was going to call it Walking Between Worlds, but Simple Minds have released something with a similar title not too long ago. My cousin told me that Grace Road was a great album title, and the more I thought about it the more I like it. Musically, it still sounds like me, my style of piano parts and bass lines, dynamics etc. This time I will work on it all with a clear mind though. If something isn’t working 100%, I will not try and rescue or disguise it. The same with any people involved, I’m not going to carry people or make excuses for them anymore. This is my legacy really and I have written too much music in the past that I have allowed other people drag down to a lower frequency. Back then I thought that it was egotistical to be too assertive with people about my own music, but I remind myself of when I am recording other people’s music. If I’m not 100% into it, I don’t say yes in the first place.

AL: Why you didn’t want to continue with any of your previous projects and focus on what you do today?

DP: I already explained about the demise of Alternative 4. I did think about getting another singer and continuing with the band name, but 3 albums with 3 different singers doesn’t sit right with me. Also, I don’t want to work with Prophecy Productions anymore, so it was better to call it a day. As for Íon, I’m still waiting on a reply from Equilibrium Music about where I stand regarding the 2 albums that they released. I have no plans to exhume that project now, but I won’t say never. My focus now is to get back on track with my music and have it all easily accessible.

JG: What inspiration did you have for the composition of these new projects that are coming?

DP: Grace Road is mostly about dying, about 'going home' and the entire life cycle. The amount of time that we waste here on Earth worrying about innate shit. Growing up and questioning unhealthy cultural or hereditary patterns. Actually, being an individual human being, being present here. Since I quit drinking, I realized just how much time I spent dumbing myself down to fit in with my surroundings in some way. Not always, but way too much. If we are born able bodied with enough functioning brain cells, and are not subject to any serious trauma, then we hit the fucking jackpot at birth. There are millions of people who would dream about being in control and have the options that most of us who were born into a fairly comfortable life have. From that perspective, it seems ridiculous to go into self-destructive mode when it’s by choice. And by that I’m not referring solely to alcohol abuse, but any kind of self-sabotage and unhealthy attachment. Anyway, death and that, and not wasting your life it’s the main theme throughout the record. I’m not gonna be growling about skeletons though, so don’t get too excited.

JG: You told us that a lot of the music that will be on “Grace Road” was written before “The eternity suite”, is there any kind of similar feeling from that past moment connected with the experiences and learning you have had? You also told us that "Grace Road" tries in part to return home, have you thought about returning to Liverpool? Getting close to Grace Road again?

DP: Most of the music on The Eternity Suite was written in the 1990s, but I was working on the Grace Road stuff before I started arranging The Eternity Suite. It’s all connected though as it came from the same source. My actual music hasn’t changed too much over the years, the instrumentation and format maybe, but not the actual music. The themes on both albums are very similar too, so it’s a nice follow up. I don’t think I will ever return to live in Liverpool, but you never know. The album is not about returning to a physical home though.

AL: Having the opportunity to have been out of the industry for so long, what could you tell us about the evolution that music has had today and how do you intend to give it a new turn to generate more interest in your new project?

DP: I don’t see any evolution at all in music. I certainly haven’t evolved too much, musically, during the past 20 odd years, but I have cleared my mind and hopefully figured out what was stopping me from moving forward with any of my projects. I was speaking to an old friend who is a musician but also works in the industry. He told me that I needed an Instagram account and 1000s of followers now if I want anyone to take me seriously. After nearly 30 years of releasing records and touring I need to be an Instagram model now? Anyway, I just want to have all my music available in one place and that the people who follow me on social media know where it is. I have never 'played the game' for the simple fact that I think its hideous, and I’m not going to start now as a middle-aged man. I will just continue to write and release music in my style and work more on the visual side of things. I’d love to do a complete album/video combo. The plan now is to release the albums digitally and people can pay what they want. I still love vinyl, so I will look into that too.

AL: On several occasions we have read on social networks about your intention to return to Colombia, in that order of ideas, would you come to present your new project? What do you like of our country?

DP: I plan to tour next year with classical musicians. Parts of The Eternity Suite as an audio-visual show around Latin America. It’ll be the 25th anniversary of the Eternity album too, which sets a nice date for it. I’d love to return to Colombia for at least one show. Last year I only really saw the airport, the hotel bar and the venue.

JG: What bands or artists do you usually listen to today and what could be your musical influences personally and in the composer position?

DP: Recently I’ve been listening to a lot of Buddy Holly and Krishna Das. I love to hear singing along to both, but they have no influence on my writing. Not yet anyway. I’m trying to return to the way I felt when I lived in the farmhouse in Ireland, and a lot of that was down to the music that I was listening to. Nearly every morning I would put wood on the fire and listen to Lisa Gerrard - Immortal Memory while eating porridge and drinking chamomile tea. I’d love to feel like that again, or realistically a new version of how I felt back then. As for influences on my writing, I can only think of Camilo Sesto who has had a direct influence recently. Not really on my writing but on the type of production I’m thinking about.

AL: It is curious to know that there is some direct influence with Camilo Sesto, why did it become an influence for you? Tell us more about this.

DP: I love some of his tracks, especially the production and instrumentation. Great hair too. When I hear something that gets my attention anywhere, whether it’s in a techno club or a Mexican cantina, I always ask "excuse me, who is this playing?". I’ve discovered so much music this way and that’s how I discovered Camilo Sesto. There will be some influence on the instrumentation on my new album. I already have it in mind.

AL: Duncan, we know that you've been living in Monterrey - Mexico for quite some time, given this, we want to know if the record label that will be in charge of your new project will be independent or external?

DP: Where I live has no bearing on which record companies I’ve ever worked with. I don’t have any plans on handing my music to a record label again though. Maybe for a vinyl license or something similar. I have my own label Strangelight Records. I want all of my music in the same place now for the right people to be able to find. That includes some old albums that I’m trying to retrieve the rights back for from other companies, since I haven’t been paid anything from them for years.

JG: Will the recording of this new project be given from the current country of residence? Or is there plans to change cities? Maybe you have thought the name or title of your new project?

Duncan P with Saul Solis | Obsidian Sound - Temple Studios
2019

DP: The plan right now is to record here in Monterrey with a guy I met recently. He’s a good friend of a good friend and is a talented drummer, has similar views to me about the creative side of things, and also works with soundtracks and tv, so it sounds too good to be true haha. That’s Plan A at the moment, to record the spine of the music there then I’m going to be in the UK later in the year and I hope to be able to get into the studio there, with the guest vocalists that I have spoken to about doing it. As I said early, I will release this stuff using my own name.

JG: Duncan, do you like movies? Do you have a movie that finds you connected to your compositions? Any kind of reference that suddenly you would like to apply to the visual aspect of your projects?

DP: I’m not a huge movie fan but I like documentaries and movies based on real life. I do plan on working more with the visual arts though.

AL: Finally, any message or lesson you want to leave to our followers?

DP: Well thank you for taking the time to read about what I’m up to. I’m in the process of uploading tracks to my YouTube channel. I also have Facebook and Instagram accounts if you wish to like/follow them.

AL: Remind us how you appear on your social networks

Facebook:Duncanpatterson.music - https://m.facebook.com/duncanpatterson.music

Instagram: @duncanpattersonmusic

YouTube: Duncan Patterson - https://m.youtube.com/channel/UCCQ-fhOxp-4LNGN5i6_DVcw

Thank you for this interview, we are attentive to the publication of this new project and we wish that is as prosperous as the other projects you have had during your long musical trajectory which, we consider, needs a lot of recognition.

Entrevista realizada por Juan Guerra, Juan Carvajal y Aura López, Administradores de Anathema Colombia Facebook | Twitter | Instagram en su orden.