Black Dahlia Murder, The: Abysmal

The Black Dahlia Murder seems to get better with every new release. The last album, Everblack, was very well received by critics and fans alike. My own view is that the band gets better with each new release, mostly because the guys demonstrate a willingness to grow while also staying true to their signature sound. This album will not disappoint fans of the band, especially those that thought Everblack was the best thing so far. Simply put, the band is just as intense as ever and shows no sign of slowing down. The music here is consistently intense, angry, and fast. I've listened to this album several times and I keep discovering new things I like about the sound, the songwriting, and the style. Though I admire the way BDM pushes things relentlessly forward, I am even fonder of the way the band introduces melodic elements into things. On this album, most of the melody comes through the guitar solos—but they aren't just nods to melody; instead, they are well constructed, complex, and melodic. I found myself looking forward to the guitar solos on every track so that I could hear what new element Ryan Knight would bring to the music. Every solo is a highlight; many of them are long enough and interesting enough that many listeners should notice just how much Knight is bringing to this album. He needs to be recognized as a great player.

Alan Cassidy's drumming also deserves special mention. Alan's been in the band since 2013 and this album represents his opportunity to show off his massive talent—and he does. His drumming not only pushes the band into faster tempos, but is also so relentless that it finds beats everywhere. The skill and talent on display throughout this record is very impressive. I'd recommend this album on the grounds of the drumming and the guitar playing alone. Check out the title track and "Threat Level No. 3." These guys aren't messing around. It's safe to say that The Black Dahlia Murder gets better and better with each new release.

My two favorite tracks on this album made some explicit connections to horror. The first of them happens to be the track, "That Cannot Die Which Eternally is Dead." The title obviously makes some connection, however oblique, to H. P. Lovecraft's infamous line (also emblazoned on Iron Maiden's Live After Death) that reads: "That is not dead which can eternal lie / And with strange aeons even death may die." Interpreting the line in Lovecraft's sense is tricky and, according to "The Call of Cthulhu," there are double meanings that may lead insightful readers toward some very bad things. The lyrics to the song don't necessarily play directly into Lovecraft's hands, but there are clear indications of nasty creatures and human beings somehow being sucked into their thrall. I am obviously assuming a connection here, but there's just enough closeness to warrant further comment.

The second song that stood out was "The Fog," a title that immediately brings to mind the John Carpenter movie. Remember that one? It's a masterpiece of mood and slowly building tension. Other metal bands (I'm thinking specifically of Orange Goblin, but there are others) have also turned to Carpenter for inspiration. Please listen to the solo on this track. It's awesome.

Those were my favorite tracks, but it does little good to ignore the other obvious highlights. I've already mentioned the title track and "Threat Level No. 3." I'd also recommend "Receipt," "Stygiophobic," and "Vlad, Son of the Dragon." The Black Dahlia Murder delivers the goods with this one!

Track Listing:
1. Receipt
2. Vlad, Son of the Dragon
3. Abysmal
4. Re-Faced
5. Threat Level No. 3
6. The Fog
7. Stygiophobic
8. Asylum
9. The Advent
10. That Cannot Die Which Eternally Is Dead

Added: September 26th 2015
Reviewer: Carl Sederholm
Score:
Related Link: Band Facebook Page
Hits: 1739
Language: english

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