Posted on June 27, 2013 AT 06:46pm
I admit, for a while I had grown uninterested in The Black Dahlia Murder after Misasma… and even then I was kind of unsure about Miasma, even though it was a great album. When Nocturnal came out I was sort of “meh” about it and when Ritual came out I just plain didn’t care. So when I had a chance to check out Everblack, I was in for quite a surprise. Everblack is for certain their most ferocious return to form and a well crafted expansion upon the TBDM sound released. The Black Dahlia Murder is a Melodic Death Metal band from Waterford, Michigan and they’ve been one of the more prevalent Non-European Melodeath bands to take the stage over the years. From start to finish it is an unceasing beast of an album with entertaining and engaging song construction, positively cringe inducing lyrics and an overall performance I can only describe as “Baby Bear’s Chair”… just right.
Everblack gives listeners a brief intro of rainfall before snapping right into an unceasing flood of tight and engaging riffs and drums. From the jump the band rushes right into this vicious attack and barely lets up, even when letting out a well placed solo. Each song seems to maintain that chaotic rush without necessarily falling into the trap of being overly repetitive or monotonous. In fact, structure is where their strength definitely lies, never letting a part of a song overstay it’s welcome and never taking a song into Breakdown Town like many of their less thoughtful peers. They maintain this sort of cut and dry, dare I say “brutality”, until “Into The Everblack” where they actually let up for some atmospheric strings and sustained guitar chords. When they actually let up and step away from the athletic blast-beats and speed riffs, they get downright catchy and mosh-worthy with songs like “Raped in Hatred By Vines of Thorn” and “Control”.
Vocally, Trevor Strnad has still got it. He’s got this sense of clarity that gives purpose for the vocabulary and mental imagery in his lyrics. He also sort of pushes the limits of cadence and flow, putting as many words in a line as possible without stumbling over himself. He exercises this particularly well in songs like “In hell is Where she Waits for Me”, “Their Beloved Absentee” and “Map of Scars” where his lyric lines seem to run quite long. The lyrics themselves paint these incredibly unholy and disgusting pictures. Whether they describe a person with a fetish for having their limbs removed or the exploits of Jeffery Dahmer in the song “Control”. He actually goes out of his way to make these ideas interesting instead of going for the most direct approach… and it pays off quite a bit.
Instrumentally, the riffs are quite well done, giving off the feeling that the band has gelled with their newer guitarists. The lead guitars fit and spice up tracks without stumbling all over a song. The drums are quite varied, ranging from different styles of blast beats and rapid fire patterns that push the songs along very well. The production is very well done, sounding clean but not ridiculously overproduced. Overall great work from Ryan Williams (production along with the band), Jason Suecof & Ryan Williams (mixing), Alan Douches (mastering), and Eyal Levi (drum recording). As an entire package, the album opens and closes quite well, especially when you consider the bonus track “Seppuku” which does better to finish the album. Everblack is definitely a solid album worth keeping in your summer playlist and perhaps one of the more solid albums of the year.
I give this album A strong 8 outta 10
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