Review: The Black Dahlia Murder Make Their Triumphant Return on Servitude

When the late, great Trevor Strnad left this world far too soon just a couple short years ago, he left a massive void in his wake whose presence can still be felt today and will undoubtedly continue to be felt for a very long time. His passing was a dark, dark time for heavy music, and it left many wondering how, when, or even if the rest of the band would continue on in his absence. Given the circumstances, no one would have blamed them for packing it in and moving on, but as it turns out, this was never an option, and we are all the more fortunate for it.

Much to our collective delight, the band have since decided that the show must go on, and so at last, one of the most hotly anticipated comebacks in death metal history is upon us. The Black Dahlia Murder are back with their tenth studio album Servitude, and while I can honestly say that I never doubted them, I am nevertheless both relieved and excited to report that it is indeed a bruiser.

This should come as no surprise, given that their new lineup is stacked from front to back with stellar musicians who are all veterans of the band in some form or another, be it a day-one founding member, a returning champion come home to rejoin the ranks once more, or the core group who have already been hard at work keeping the machine running for years. Even still, you love to see it.

The opening track “Evening Ephemeral” begins softly, building anticipation with a subtle yet ominous three-note melody over the sound of waves lapping against some nameless distant and empty shore, but not for long. These guys know what we’re all here for, and boy do they deliver. Shortly thereafter, the guitars and drums come crashing in as Brian Eshbach lets out the first of many pained, extended shrieks, and just like that, we’re off to the races once more. We are then given just enough time to acclimate to a highly infectious groove before the rug is ripped out from underneath as Brian barks out an opening line that I’m not ashamed to admit sent shivers up my spine: “Now places everyone, the stage is set, prepare yourselves.”

From there, the rest of the music launches as if shot from a cannon, and it does not let up until the very end. As expected, everyone is firing on all cylinders, ripping through the frenzied riffs, blast beats, and blistering solos in a way that reflects their newfound sense of purpose while simultaneously reassuring everyone that they have not lost a single step. Songs like “Aftermath” and the title track are positively frothing at the mouth, laying waste to any potential misgivings or misguided apprehensions. Others, like “Cursed Creator” and the relatively short but powerful closing track “Utopia Black”, take a slightly more groove-oriented approach, and to great effect. There is no shortage of hard-hitting, mosh-worthy material on this album, and all of it is steeped in that signature melodic death metal flavor that we have come to know and love them for.

And now, the question that’s been on everyone’s mind: what about the vocals? Few could ever hope to measure up to one of the most iconic and instantly recognizable voices in modern death metal, but at the same time, Eschbach has been living and breathing this band since its inception, so if anyone were to have an authority on what The Black Dahlia Murder sounds like without its legendary frontman, it would definitely be him. As it turns out, the man is very much up to the task, delivering a snarling, dynamic performance that, while not quite reaching the same lows as his predecessor, still sounds comparable to Trevor’s slightly raspy high screams on Unhallowed, with Eschbach’s own unique flair added in, of course. They’re obviously not identical, and Strnad’s absence is very much felt, as we all knew it would be, but Brian has a strong and steady voice as well, toying around with vocal patterns and heavily emphasized consonants in order to make his voice as much an instrument as everything surrounding him.

In hindsight, it could only have been Brian. Sure, they could have scooped up some hired gun, and there are plenty of vocalists out there with some serious pipes who would have sounded heavy as shit, but it just wouldn’t have had the same spirit. The gravitas of what this album means to so many people around the world would have been watered down, cheapened, and diminished, a fact which these guys are all too aware of. As such, great pains have been taken to honor Trevor’s legacy while soldiering on without him, and the end result is something that exudes a sense of solemn triumph. It’s bittersweet, but it also serves to lend a palpable sense of personality and atmosphere that is sure to define this album in the days to come.

As for the rest of the music… well, what do you expect? Ryan Knight and Brandon Ellis are both notorious for their lightning fast, squeaky-clean shredding which draws inspiration from a number of different sources spanning multiple genres and timeframes, and that was before they joined forces. Unsurprisingly, they both light it up on this album like nobody’s business, with Ellis’s slightly more ’80s-oriented, upbeat, whammy bar-heavy style tastefully complimenting Knight’s flowing, neoclassical approach. It’s guitar porn, straight up, and they make it seem easy. Drummer Alan Cassidy is in fine form as usual, flying around the kit with supersonic speed and expert precision, and longtime bassist Max Lavelle rounds out the bottom end with his warm yet understated tone. He’s the only one I would have liked to have heard a little more from on this album, but then again, we all know what he’s capable of by this point. The man does his job all the same, and he does it well.

When the final song “Utopia Black” abruptly ends then fades out with a slight variation on the somber, ambient melody from the intro, it recontextualizes the entire experience as a continuous ouroboric loop that constantly feeds back into itself. It’s a story within a story, designed to be experienced more than once and back-to-back. And with that, the final punctuation mark has been added, and the curtains slowly descend on a defining moment in this band’s already storied career.

So, there you have it. They may have gotten knocked down, but even in the face of genuine tragedy, The Black Dahlia Murder have dusted themselves off, gathered their strength, and managed to snatch victory from the jaws of defeat in a way that only they could. Servitude sends a message, clear, distinct, and proud: “we are still here, and we’re not going anywhere.” This album represents a pivotal moment if ever there was one, but thankfully, it is not a downward turn, but rather a calculated and highly efficient lateral movement. They’ve made the best of a truly regretful situation, and while Trevor will always be missed, he would also surely be extremely proud of what his friends have accomplished not just in his stead, but in his name. Plus, he probably would have cracked a joke about how the album art kinda looks like a butthole. Don’t worry, he’d laugh right along with you.

Servitude arrives this Friday, September 27th via Metal Blade Records, pre-order your copy here

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