review: Endseeker

Endseeker

The Harvest

Metal Blade Records

13 September 2019

Endseeker (Germany) provides several main strengths for the customers that purchase traditional, classic and early-style death metal, especially those customers that find themselves attracted to the first releases with the thick guitar sound of albums produced by Thomas Skogsberg at Sunlight Studios in Stockholm, Sweden, examples of which are the highly regarded debut albums by Entombed and Dismember, amongst others. That guitar sound, and other variations of that thick guitar by bands emulating the Sunlight sound, have in general been received well by the devoted fans of the genre. The production team has done a competent job in achieving for Endseeker that guitar sound that is reminiscent of Skogsberg-produced early Swedish death metal.

Another strength of the album is the band’s focus on groove and simplicity, over technicality and speed. The first two songs, for instance, are fast death metal, but (1) it is not so technical as to be overwhelming and (2) are not representative of the band’s fundamental sound. Overall, the riffs will sound familiar to the supporters of the style and those customers should be pleased with the band’s delivery and execution of the songs. There is an emphasis on keeping the songs manageable and listenable for the potential buying public. The vocals are gruff but are enunciated remarkably clear, for this type of vocal work. The rhythm section holds down the fort very well and they keep together the backbone of this album. All good work. In terms of style, the band prefers the simplicity of death and roll: that chugging-grooving way of doing the guitar work, and the rhythm section excels in this style. Therefore, customers should know that this album is not a 1988-1991 Swedish death metal throwback work, even though there is certainly a good portion of that here. Instead, the death and roll is the bread and butter of the band and it’s what they do best on the album.

Fans of death and roll are aware that the simplicity of the guitar work can sometimes lean too much in the direction of monotony. Compared to the landmark death and roll albums of yesteryear, this one is more conscious to avoid making it seem as if the band is on autopilot or too comfortable just grooving and growling in each song. That’s very positive. Of course, the growling vocals, while very competent, can feel one dimensional, but that’s not a specific problem for this band but rather for death metal in general. Overall, the band has made a good-faith effort to avoid the monotony in the mood of the songs.

One major weakness of the album is the band’s inability to cash in on the melodies. Time after time, they have good melodies, like in the guitar solos, and just about every time they leash in and restrain the guitar solo. This is a mistake. These solos have to be one the highlights of each song. Knowledgeable metal fans look forward to the good solos. That’s one of the main reasons those Entombed and Dismember albums are so beloved by the fans. What is the problem? Is it that the guitar playing lacks the skills to develop the guitar solos? Is it that the band is afraid of getting criticized for having soloing that is too good? Is that a problem? Whatever the reason, this problem should be rectified. The soloing is an important way that fans remember songs. There are quite a few moments of cool licks and solos on the guitar. It’s not too melodic, but the thick tremolo always sounds nice when in the songs there are some melodies and brutality going on. However, there is not enough of these things and the album could stand to use more of it.

For this reason, the album lacks standout tracks. It doesn’t feel like there are any big standout tracks that you would want to recommend for people to check out. Perhaps the band and the record label are aware of this situation. That’s why at the end of the album they have a death and roll cover of the Megadeth hit “Symphony of Destruction.” The inclusion of the famous song basically is a confession from the band and label. They needed something sweet, something cool, something attractive to spice up the album.

To conclude, the album is very competent. It is consistent and it is music that with a few listens quickly becomes intelligible. The band sounds like they are on the cusp of making their own landmark album on the next one if they allow the solos/melodies more room to breathe and if the band continues progressing on making the songs more memorable.

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