The Black Dahlia Murder - Servitude

The Black Dahlia Murder probably doesn’t need an introduction considering they are one of biggest bands in death metal. Since 2001, the band has been churning out extreme and often times melodic metal on a consistent basis. Their sound is often described as melodic death but, for me, that doesn’t really fit their sound to a "T."  I suppose it depends on the album in question but all you really need to know is they have never released a bad album, although some are better than others.  

I have a minor, somewhat special, connection to the band on a personal level. A long time ago, close to 20 years ago, I briefly wrote for a magazine called Modern Fix. One of the first things I did for them was interview this band through email. I know, it’s not much, but it helped me cut my teeth in the “metal journalism” scene. The interview was during their “Miasma” era but I’ve followed the band since their first album. It has been great watching this band grow and become as big as they are. 

The tragedy of frontman Trevor Strnad still hangs over the scene and I’m not sure if we will ever come to terms with it. After his passing, a lot of people assumed the band would dissolve. To be honest, I never thought they would. Over the years it seems that people have forgotten that Brian Eschbach has been in the band as long as Trevor. I’ve actually seen many websites say that Trevor was the only original member.

I get it, Trevor was obviously a huge presence in the band and in the scene, but Brian’s own influence is more than considerable. I figured he would carry on with the band and I’m glad he did.

"Servitude” is an album that I know Trevor would be proud of. Brian moving from guitar to vocals is a huge deal but he pulls it off. Although they do sound different, Brian’s vocal attacks are familiar enough that his performance feels very natural. It’s also their tenth album, which is no small detail, because so many bands don’t even make it half as far as they have. To still put out albums of this caliber, especially after such a tragedy, is an amazing thing to behold.

Another important part to the album is the return of Ryan Knight, who last made a recorded performance with the band on 2015’s “Abysmal.” It doesn't feel like nearly a decade has passed as he barrels his way through with apparent ease. Although I will miss Brian’s style, he and Brandon Ellis are more than capable of bringing the band’s frenzied, chaotic, melodic sound to the forefront. Bassist Max Lavelle and drummer Alan Cassidy continue to hold up a furious rhythm section while providing an immovable foundation. 

At this point, if you know then you know. As good as “Servitude” is, if you’re not already a fan of the band then it won’t change your mind. But the good news is that if you are a fan, then there isn’t any reason why this album won’t satisfy you. 

Throughout its 10 song, 32 minute run time the album provides fast paced death metal that is full of catchy riffs and hooky melodies. The album is very tight, using all its available minutes to get in, get off, and get out. With the exception of “An Intermission,” it’s pretty much pedal to the metal, full throttle death metal. If that’s your thing, then go for it. If not, then why are you even reading this? Please, just go. 

It all begins with “Evening Ephemeral,” and it’s clean opening among the backdrop of watery sounds. Before the minute mark has passed, a scream rips through and the band quickly settles on a groove. 

Much like Trevor, Brian barks out the lyrics with insane energy that constantly drives the songs forward. The middle part finds the bass and drums finding a sweep spot for groove, the perfect vehicle to both let Brian throw out his lyrics and set up the song for a solo that begins melodic but quickly transforms into something a little more flashy but it makes sense in context of the surrounding music. 

"Aftermath,” starts with the sounds of an explosion then it really explodes with the entire band firing on all cylinders. The riffs on this song are more focused on brutality and I’m ok with this, the song is rather intense and burns short but very brightly. I enjoy the middle passage quite a bit, the band leaning back on the tempo a bit to link the riffs sink in and the solo to really shine.

“Asserting Dominion” doesn’t let the album fall back in the later half, offering one of the best songs on the album. The riffs find that perfect balance between melody and aggression, the rhythm section compliments it perfectly, offering a heavy handed performance when needed but taking a more indirect path in certain moments. The lead guitar offers flourishes here and there, accenting the song in just the right ways. The last minute is great, a melodic passage leading into a blazing solo and heavy riffs to end the song. 

The title track is, of course, another banger. I’m not sure what the meaning of it is in relation to the cover art but I guess it doesn’t matter because it rips, regardless. This song is the band doing what it does best: playing fast paced death metal with a keen sense of melody without going overboard with it, effectively combining Gothenburg influences with the heavier side of the genre, such as the Florida scene. 

The final song, “Utopia Black,” is one of the band’s best songs. The drums are very well done, catchy and groovy all the same. When they double down on the speed, the band exists in a wind tunnel where everything falls into place. Brian’s vocals near the end are vicious, a hell of a performance.  

The Black Dahlia Murder’s “Servitude” is a solid album from a band that has yet to do wrong. How it fits into their overall discography is a purely personal aspect but I don’t see any reason why fans of the band would have anything bad to say about this.