The Black Dahlia Murder - Everblack
The King Has Returned...
When a band begins to eclipse the status of having a cult following to being on the margins of mainstream acceptance, hordes of others aping their sound is a certainty. It then becomes difficult for said band to rise above they crowd they've spawned to deliver an album that doesn't sound overly "generic". Somehow, this is exactly what The Black Dahlia Murder does with Everblack; they dig deep and offer up a beautifully depraved new standard of how to do melodic death metal the right way.
After experimenting on their recent, uneven Deflorate and Ritual albums to distance themselves from copycats, the masters come back full swing with a few new tricks up their sleeve. Like any good metal album repeated listens aren't just recommended, it's mandatory to even begin to unravel the multilayered, unpredictable changes and machine gun tempos. Further exploration into decyphering the lyrics is also necessary for full appreciation unless your native language happens to be dual-pitched growling.
Into the Everblack
Everblack opens with the serene pattering of rain on it's opening track, "In Hell is Where She Waits for Me". Following a bit of a cinematic build up, a gutteral scream sends you face first into the pitch black world of the band's namesake, the true historical horror of the unsolved Black Dahlia Murder case. The energetic yet deranged song serves as a fitting celebration and introduction to the "back to the roots" philosophy of the rest of the album; unapologetically brutal and carnal, yet melodic and thoughtful.
Following the Satanic chanting and plucky guitars of "Goat of Departure", the titular "Into the Everblack" paints a grim aural landscape of the unescapable necropolis featured on the masterful coverart. The centerpiece is somewhat held back by the predictable chorus ("This is the everblack/there is no going back"), but the syrupy, tar covered delivery smooths over what is otherwise a complex and exemplary case of black metal goodness.
"Raped in Hatred by Vines of Thorn" at it's surface is an odd, perverted attempt at shocking revulsion, unless you're an Evil Dead fan like I am. Then it's hilarious as you can't help but visualize the inspirational scene from the movie, and the catchy title becomes smirk-worthy as it gets stuck in your head.
"Phantom Limb Masturbation", on the other hand, is more than appropriately named; the weighty yet elastic music perfectly sets the tone as the ultimate masochist recalls how he systematically dismembers his own body digit by digit, limb from limb, until it has been cut down to "a perfect size." A saw, train, and shark are involved.
The ode to Jeffery Dahmer, "Control", is another welcome step back to basics. It would feel just as at home on the breakout Nocturnal as it does here. A short, sweet, solid track all around.
"Bloodmine" is the most straightfoward, traditionally structured song of the bunch and would be the most likely candidate for a radio single if that kind of thing was still relevant. They heavy Lovecraftian lyrics are juxtaposed with some '80s metal guitarwork and the fist pumping cry of, "Bloodmine!". It's very fun to listen to and I can't help but crack a smile while I do. If you're curious at all about the album or band, this is about as "easy listening" as it gets and is probably the best place to start.
"Every Rope A Noose" is an appropriately dismal case study in suicide, and is most likely repetitive and plodding by design. Unfortunately this means it's not particularly interesting to listen to and is the closest the album has to a throwaway or filler track. It does serve it's job as a lead-in to the Christian hymn opening of "Their Beloved Absentee"; a brilliantly epic and complex piece that features some insanely frenzied strumming, giving sections of the song an almost Middle Eastern/Indian flavor.
The final track, "Map of Scars", has the daunting task of wrapping the entire package together, and it more than delivers. A military style build up is soon accompanied by some monkish chanting. Then a meticulously controlled chaos erupts. Impressively dynamic, shifting melodies drive the all too believable tale of twin "cutters" and their downward spiral, highlighted by a couple abrupt, breakneck guitar solos. As the chanting fades out at the tail end, it is most likely going to fade into the rain of the opening track as you listen to this excellent album again.
While not quite reaching the masterpiece status of Miasma, or achieving the unbridled rawness of Unhallowed, Everblack is unquestionably one of the best metal albums I've heard in years.
Rating: 4 1/2 Eldritch Horrors (out of 5)
Released June 11, 2013. Metal Blade Records. Available on CD, MP3, Vinyl.
The Gaming Connection:
- The Black Dahlia Murder's first demo was titled, "What a Horrible Night To Have a Curse...", a reference to Castlevania II: Simon's Quest.
- The album Nocturnal featured a track, "What a Horrible Night To Have a Curse..." It was featured on the Saint's Row 2 soundtrack, and as DLC for Rock Band.
- On a personal note, I was first introduced to the band via recommendation by someone on a Silent Hill fan website a decade or so ago.
- Want more? Fine, here's a full review of Spartacus Legends: *** sandwich.