ALBUM REVIEW: It might be called Abysmal but The Black Dahlia Murder are anything but

THEY are amongst the most revered of extreme metal acts, and they have delivered consistently since they formed and in 2013 The Black Dahlia Murder released the outstanding 'Everblack', an album of fierce intent and outstanding ferocity. Now, in 2015 can they top that?

Sit down, source your inner metal demon and listen to 'Abysmal' - one of the most ferocious, yet balanced extreme metal albums in a long, long time. Raw, angry and perfect to rip up lifetimes of pretentious shit you have had to put up with.

The title track alone will induce neck ache as you impulsively bang your head and cause jaw ache as you try to comprehend what The Black Dahlia Murder have achieved here.

"Once the record started to come together we knew it was going to be something special," said vocalist Trevor Strnad.

"It's more urgent, it has more dynamics, it's a more emotive record, and it has a more raw, angry sound to it. It's still million mile-per-hour death metal, but when you invest so much thought and emotion into what you're creating you end up with a record that does stand out, and we can hold our heads up high and say yeah, this is our best work."
This really is 100% melodic death metal, ferocity married with a sense of what can be achieved through arrangements and balanced guitar and rhythm work. But that is not to say that the band has remained shackled by past glories.

"I still love Everblack and everything we achieved when touring it, and in fact going into that record we faced a massive challenge in following up Ritual (2011), which had also been huge for us," said Strnad.  "Having two records in a row connect with fans in such a way was amazing, but definitely piled on the pressure going into this new one, because we don't want to let them down, and we don't want to let ourselves down. But we learned a lot in making those two records, and we brought that into Abysmal.

"We know we can take people's heads off playing super fast, but that doesn't always give listeners something to really chew on. We've learned to focus on creating some drama, interesting dynamics, and most importantly really investing time in thinking about how different parts of songs will make you feel." 

We have to confess when we read the PR blurb and quotations like those above our initial response was that cynical Northern Ireland "Aye, dead on!" In this case we were wrong, because this is an album that has sheer brutality in every aspect of its songs.

The likes of 'The Fog' and 'Threat Level Number Three' show case the type of metal that needs - yes needs - a wider listenership.

Drummer Alan Cassidy, who joined the band in 2013 combines with Max Lavelle (bass) to give it a live vibe that some had doubted the band could ever achieve again.

Brian (Eschbach, guitar) performs at a level that TBDM have always promised and taken that to the next level in combination with Ryan Knight's six string heroics. The level of riffing is at times extraordinary. Check out the opening of 'Asylum' and pick your jaw off the floor.

What makes Knight's work all the more impressive is that for every shred there is subtlety that harkens back to the NWOBHM.

Just as Everblack tested the boundaries of blasphemy this time out lyrically they challenge perceptions of an afterlife - and the current age - by exploring hell on literal and metaphorical terms. In this sanatised society which other genre would tackle the topic of the issues facing a rapist/molester -  chemically castrated - talking to his inner demons as he tries to assimilate back into the real world. This is uncomfortable listening, but it is a societal issue that the 'talking heads' chatter about while the tabloids pontificate about.

Hell is not a one-dimensional Biblical story here - hell is a complicated personal journey and a phantasmagorical fantasy landscape. 'Vlad, Son Of The Dragon' touches on the Stoker tale of Dracula, while recalling the brutal history of Vlad The Impaler.

But, amidst this controversial back drop there is a defiance, a fuck you attitude, a stand that says we are who we are. Closer 'That Cannot Die Which Eternally Is Dead' is a single finger salute to the doubters: it's a declaration that this band are going to keep on delivering and keep on the metal path.

What impresses more is the very sound - no sampling, no over dubs, no post-production pissing about. This is metal as it should be - people playing metal and playing it with an intensity that deserves listening to.

At this stage in the game, with typically modest aspirations, Strnad is more interested in maintaining their longevity than shifting records, and if the band never gets any bigger than they are right now he will "die happy a hundred times over". However, this does not mean there is anything even vaguely resembling an end in sight. "We're still young at heart and I feel like the evolution of the band still has a long way to go. I don't see a ceiling on what we can do, and there will be no end. It's just going to be a constant ongoing fight to make better music and be a better band, and it's always going to be time to kick ass."

If this is what The Black Dahlia Murder can achieve in 2015 we cannot wait until the next 10 years of this band.

 

Review by Jonny

 

The Black Dahlia Murder release Abysmal on Metal Blade Records on 18th September

 

 

Uncompromising brutality from The Black Dahlia Murder on Everblack

AS The Black Dahlia Murder embarked on recording their ninth album Everblack someone must have slipped the nasty pills in their coffee as it is an album that scores heavily in the brutality stakes, musically and lyrically.

It as an album, that like some of their previous releases could be classed as melodic death metal, but only the lazy would dare attached such a trite label.

Yes, all the elements are ther, none less than track Raped In Hatred by Vines of Thorns, but their previous Scandanvian influences, while there, now have additional flavourings of hardcore and some American bands like Morbid Angel.

That much you can probably glean from the press blurb and Wikipedia, but Everblack is an intense album, primed to be in your face.

At a casual listen it does have all the melodic death metal ingredients - strident vocals, blastbeats, harmonising guitars, challenging passages in tracks and at times stupidly violent lyrical themes.

But dig a little deeper and you'll find that The Black Dahlia Murder have grown up a bit. Whether it is as a result of line-up changes, or just putting in more years on the road and in the studio they have achieved more depth.

Opener In Hell is Where She Waits for Me has the burgeoning sense of atmosphere the band no doubt wanted to achieve, but it is a taster for what is to come.

By the time you get to the breathless Phantom Limb Masturbation there has been a sense that the band have become more familiar to subtle shading and use of full-on sounds when needed and knowing when to back off.

At times there are even nods to classic metal and NWOBHM, whether intentional or not.

Stand-out tracks are the title track Into the Everblack and Their Beloved Absentee. Not necessarily because they are the best on the album, but because they hint at so much more.

The only sour note is the continual use of violence and obscenity in the lyrics. Of course bands want to explore the darker, more depraved of a society happy to keep its darkness behind closed doors, but a different trope may yield better results for The Black Dahlia Murder.

Overall an intense listen, well worthy of a few spins to find what is lurking under the hood. 8 out of 10.