Anata – The Conductor’s Departure
Earache Records/Wicked World – WICK22 – June 19th, 2006
By Jason Jordan
The Conductor’s Departure will most likely be the last technical death metal record I get my hands on this year, and what a fitting end to a stretch of time boasting tech death releases such as Decapitated’s Organic Hallucinosis, Gorod’s Leading Vision, Sulaco’s Tearing Through the Roots, Psycroptic’s Symbols of Failure, Spawn of Possession's Noctambulant, and of course Anata’s latest – all of which range anywhere from par for the course to phenomenal. Thankfully these Swedes have pulled another win out of their pockets that is truthfully quite different from their previous victory, Under a Stone with No Inscription.
Spearheaded by opening tune “Downward Spiral into Madness,” the modifications couldn’t escape even if they were wearing camouflage. The Conductor’s Departure isn’t rough around the edges like Under a Stone with No Inscription, and the antagonistic aggression has been toned down somewhat, which is not to say that Anata have lost their heaviness or potency. They haven’t. It’s just that the joyless nature of the lyrics and music leads to a more introspective listen, as a result of introspective performances. Rather than lashing out as its predecessor often did, TCD won’t attack until backed into a corner unable to find a feasible exit route. Nevertheless, the material absolutely crushes those who wander into its path – beware “Complete Demise,” “The Great Juggler,” and “Disobedience Pays” specifically – though still manages to alter its M.O. without warning like in “Cold Heart Forged in Hell,” “Children’s Laughter,” and “The Conductor’s Departure.” The three don’t ferociously leap out of the starting gate akin to their fellowmen. Also of note is the Nile-esque “Renunciation” – a comparison that is warranted methinks.
Since Anata is under a microscope (with no inscription; sorry, I couldn’t resist) at the moment, it does indeed follow that the musicianship is off the charts. The originality isn’t as much of a concern as whether The Conductor’s Departure succeeds, and needless to say, it satisfies from the outset and even after several replays. Speaking of – in regards to the list of albums in the first paragraph – this is the one I’ve revisited the most, which is an accomplishment in and of itself.
8/10
UM’s Review Rating Scale
Official Anata Website
Official Earache Records Website
Earache Records/Wicked World – WICK22 – June 19th, 2006
By Jason Jordan
The Conductor’s Departure will most likely be the last technical death metal record I get my hands on this year, and what a fitting end to a stretch of time boasting tech death releases such as Decapitated’s Organic Hallucinosis, Gorod’s Leading Vision, Sulaco’s Tearing Through the Roots, Psycroptic’s Symbols of Failure, Spawn of Possession's Noctambulant, and of course Anata’s latest – all of which range anywhere from par for the course to phenomenal. Thankfully these Swedes have pulled another win out of their pockets that is truthfully quite different from their previous victory, Under a Stone with No Inscription.
Spearheaded by opening tune “Downward Spiral into Madness,” the modifications couldn’t escape even if they were wearing camouflage. The Conductor’s Departure isn’t rough around the edges like Under a Stone with No Inscription, and the antagonistic aggression has been toned down somewhat, which is not to say that Anata have lost their heaviness or potency. They haven’t. It’s just that the joyless nature of the lyrics and music leads to a more introspective listen, as a result of introspective performances. Rather than lashing out as its predecessor often did, TCD won’t attack until backed into a corner unable to find a feasible exit route. Nevertheless, the material absolutely crushes those who wander into its path – beware “Complete Demise,” “The Great Juggler,” and “Disobedience Pays” specifically – though still manages to alter its M.O. without warning like in “Cold Heart Forged in Hell,” “Children’s Laughter,” and “The Conductor’s Departure.” The three don’t ferociously leap out of the starting gate akin to their fellowmen. Also of note is the Nile-esque “Renunciation” – a comparison that is warranted methinks.
Since Anata is under a microscope (with no inscription; sorry, I couldn’t resist) at the moment, it does indeed follow that the musicianship is off the charts. The originality isn’t as much of a concern as whether The Conductor’s Departure succeeds, and needless to say, it satisfies from the outset and even after several replays. Speaking of – in regards to the list of albums in the first paragraph – this is the one I’ve revisited the most, which is an accomplishment in and of itself.
8/10
UM’s Review Rating Scale
Official Anata Website
Official Earache Records Website
