Originally written by Chris Chellis.
Progression is a dicey term, but no matter how one comes to define it, I think we can all agree that it can have negative connotations. In the context of black metal, it’s been a pretty mixed bag. Groups like Deathspell Omega and Wolves in the Throne Room have undoubtedly taken the violent and more dangerous elements that we associate with the sound in a new direction. Does that qualify as progression? Aren’t black metal and progression complete antonyms anyway? Fortunately, for those who aren’t at all interested in the way black metal seems to have redefined its boundaries, we have groups like Endstille.
According to the official Endstille site, the band plays “ugliest aggressive black-metal with the speed of a MG42 firing and the power of heavy ship-artillery.” Despite the broken English, this pretty much holds true. Whether or not the speed at which these Germans play is comparable to a bullet or not is neither here nor there, but they do play pretty damn fast. If it were true that they only played at this pace, however, I think I might have been slightly disappointed. The fact is, the tempo does vary. “Der Ketzer,” only the third track on Endstilles Reich, plods along at a noticeably slower pace than the two preceding songs. Even within certain songs the band will switch up the tempo for emotive or atmospheric purposes, as in the opening track, “Among Our Glorious Existence,” and it is rather effective in creating mood.
While every other black metal band seems to be assuming the guise of the saturday market musician reinterpreting the works of acid rock artists, Endstille are sticking to their guns and there is something immediately refreshing about that. As interesting as it is to hear boundaries being pushed, there’s something very admirable about an artist working within an aesthetic to create something both disciplined and excellent in its own right. The fervor with which this release seems to unfold is infectious. There’s a warmth to the way this band plays, and I couldn’t help but attach myself to Endstilles Reich almost immediately.
It could be argued that there are one or two things that keep this from being a “perfect” album, the most obvious being that there could have been stronger differentiation between songs. Some of the drum patterns sound way too similar and it’s easy to forget how far you are into the album. Many of the songs become recognizable over the course of a few listens but not all are as easily identifiable. Another potential problem is vocalist Iblis, whose conviction, as clear as it is made throughout, cannot save the fact that he’s kind of limited in tone and can’t always match the atmospheric diversity of guitarist L. Wachtfels creates so well.
All points now given, considering that I’ve been delving pretty deep into Agalloch and the new Wolves in the Throne Room for the past few days, it has been nothing short of refreshing to sit down for a while and listen to something more orthodox. I have a feeling most who give Endstilles Reich a chance will feel the same way. Unfortunately, something tells me that this will go relatively unnoticed, especially by the pseudo-intellectual knuckleheads in wire-framed glasses and purple polos who will only listen to something “metal” if it can be argued that it’s not metal at all. It’s too bad, too, because songs like “Der Ketzer,” “Scars” and “Among Our Glorious Existence” are amongst the best I’ve heard this year.
