Album Reviews

The Black Dahlia Murder “Servitude” Album Review by Jorge Pozo

Jorge Pozo

September 23, 2024

The journey of The Black Dahlia Murder has always been one marked by perseverance and evolution. The untimely passing of their iconic frontman, Trevor Strnad, in May 2022 left a profound silence in the realm of extreme metal. It was a heart-wrenching moment for fans and members alike, as Strnad’s charisma and vocal prowess defined much of what made the band truly special. Emerging from the shadows of grief, the surviving members—Brian Eschbach, Max Lavelle, Alan Cassidy, and the returning Ryan Knight—have taken bold steps to craft their tenth studio album, aptly titled Servitude. This album represents not only a continuation but a defiant march forward in honor of their fallen brother.

Transitioning into a new era, Servitude offers a glimpse into the band’s intricate soundscape while navigating the challenges of living up to a celebrated legacy. With Eschbach stepping into the vocal spotlight, there was an air of apprehension surrounding whether he could replicate the fierce intensity that Strnad brought to the table. However, from the opening notes of “Evening Ephemeral,” it becomes apparent that while the soul of Trevor may be irreplaceable, Eschbach channels that spirit through a different yet complimentary lens, helping to forge a new chapter for the band.

The album kicks off with “Evening Ephemeral,” introducing listeners to a haunting piano interlude that gracefully swells into a barrage of melodic chaos. Here, the pulse of classic melodic death metal shines, revealing a band that, even in upheaval, remains formidable. This track serves as a testament to their dedication to the craft, incorporating familiar elements while propelling them into new territories. The dual guitar work from Ellis and Knight deserves special mention as they weave intricate harmonies, reminiscent of the band’s earlier days while using fresher tones.

Following the opener, “Panic Hysteria” escalates the tempo, wrapping the listener in its frenzied rhythms and slicing riffs. Yet, even in its aggressive barrage, the track sustains a melodic undercurrent, showcasing the band’s knack for blending brutality with beauty. The first single, “Aftermath,” emerges with its neck-snapping hooks, providing a nod to the band’s classic sound while allowing Eschbach’s vocal delivery to shine. His approach is raw, evoking the chaos within the song’s apocalypse-themed narrative.

However, there are moments where Servitude stumbles. While impressive production accompanies many tracks, some compositions feel like familiar territory without breaking into memorable territory. For instance, “Cursed Creator” has palpable energy, but it struggles to carve out a lasting impression when compared to past highlights. Even so, the rhythm section, featuring a deft performance by Lavelle on bass, captures a robust interplay with Cassidy’s drumming that holds the narrative together.

Yet, as the album unfolds, various highlights emerge to reclaim the listener’s attention. The title track, “Servitude,” may encounter criticism for its pacing, but moments like “Mammoth’s Hand” showcase the band’s ability to pivot, developing a sound that stands apart from their previous catalog. Its solid groove encapsulates a contagious energy that feels essential to the album’s overall fabric. Furthermore, “Transcosmic Blueprint” injects a sense of urgency, spiraling through intricate riffs that evoke remnants of the band’s illustrious past.

In reflecting on the album’s journey, “Utopia Black” stands as a profound concluding piece, offering a more subdued reflection of the album’s emotional weight. This track plays like a gentle, melancholic farewell while still channeling the heavy instrumentation the band is renowned for, creating a poignant balance between rage and reflection. It’s a fitting homage to Strnad and encapsulates the essence of loss intertwined with rebirth, ultimately cementing Servitude as a worthy addition to the band’s legacy.

Overall, Servitude may not reach the astronomical heights set by its predecessors, but it stands as a poignant statement of resilience. The album is a blend of homage and fresh exploration, demonstrating that The Black Dahlia Murder remains a powerhouse in the melodic death metal sphere. Eschbach’s vocals, while echoing the spirit of Strnad, represent a forward-facing commitment to evolve while honoring their past.

Through its highs and lows, Servitude acts as both a personal journey of the band and a collective catharsis for fans navigating the turbulent waters of grief. For those who have long embraced the band’s contributions to metal, this album serves as a ropes-weaving bridge from the past into an uncertain future, filled with promising potential.

In conclusion, my favorite tracks from this record are “Mammoth’s Hand,” “Asserting Dominion,” and “Utopia Black.” Each encapsulates varied facets of the band’s evolution while showcasing their enduring musical prowess. With that in mind, I’d rate Servitude a solid 8.5/10. This rating stems from my appreciation of the growth represented in the face of adversity, the compelling instrumentation, and the album’s ability to resonate emotionally despite its occasional missteps. It’s a significant step for The Black Dahlia Murder, one that honors their past while paving the way for their future.

THE BLACK DAHLIA MURDER:
Brian Eschbach – lead vocals
Max Lavelle – bass
Alan Cassidy – drums
Brandon Ellis – lead guitar, backing vocals
Ryan Knight – rhythm guitar, backing vocals

Servitude will be released on digipak CD, cassette, and digital formats as well as vinyl in the following color variants and special editions:

180g Black (US/EU)
Electromagnetic (US)
Rising Smoke (US)
Transcosmic Blue (US)
Endless Tide (US)
Utopian Black (US)
Cursed Creation (US – Exclusive Band Tour Variant)
Limited Edition Box Set w/ Ephemeral Vinyl Variant + Bonus LP That Includes 3 Live Tracks (US – Ltd. 400 / EU – Ltd. 600) *100 remaining
Bloody Pulp (EU – Ltd. 1000)
Nature’s Grain (Impericon Exclusive – Ltd. 300)
Blood Spray (EMP Exclusive – Ltd. 200)
Stone Cold (EU – Ltd. 200)
Lost Nobility (UK – Ltd. 300)

THE BLACK DAHLIA MURDER, will join Dying Fetus for a North American co-headlining tour this Fall. The Beg To Serve 2024 tour will begin on October 3rd in Cleveland, Ohio and make its way through over two dozen cities, the journey coming to a close on November 10th in Chicago, Illinois. Support will be provided by Spite, AngelMaker, and Vomit Forth.

Tickets are on sale now at tbdmofficial.com/#tour. See all confirmed dates below.

w/ Dying Fetus, Spite, AngelMaker, Vomit Forth:
10/03/2024 Agora Ballroom – Cleveland, OH
10/04/2024 Egyptian Room – Indianapolis, IN
10/05/2024 The Rave – Milwaukee, WI
10/06/2024 Fillmore – Minneapolis, MN
10/08/2024 Summit Music Hall – Denver, CO
10/10/2024 The Depot – Salt Lake City, UT
10/11/2024 Knitting Factory – Boise, ID
10/13/2024 Neptune – Seattle, WA ^
10/14/2024 Rickshaw – Vancouver, BC ^
10/15/2024 Roseland Ballroom – Portland, OR
10/17/2024 UC Theatre – Berkeley, CA
10/18/2024 The Catalyst – Santa Cruz, CA
10/19/2024 Observatory North Park – San Diego, CA *
10/20/2024 The Novo – Los Angeles, CA *
10/21/2024 The Marquee – Tempe, AZ
10/23/2024 The Factory At Deep Ellum – Dallas, TX
10/24/2024 Vibes Event Center – San Antonio, TX
10/25/2024 Warehouse Live Midtown – Houston, TX
10/27/2024 The Ritz Ybor – Tampa, FL
10/28/2024 Buckhead Theatre – Atlanta, GA
10/30/2024 The Fillmore – Charlotte, NC
10/31/2024 Fillmore Silver Spring – Silver Spring, MD
11/01/2024 Fillmore – Philadelphia, PA
11/02/2024 Palladium – Worcester, MA
11/03/2024 Irving Plaza – New York, NY
11/05/2024 M-Telus – Montreal, QC
11/06/2024 The Phoenix Concert Theatre – Toronto, ON
11/09/2024 Royal Oak Music Hall – Detroit, MI
11/10/2024 Concord Music Hall – Chicago, IL
^ No AngelMaker
* No Spite