Summary: The Black Dahlia Murder’s latest release, Servitude, reaffirms their place as one of extreme metal’s most consistent forces, bringing an unrelenting sonic assault with the precision and aggression the band is known for. Packed with razor-sharp riffs, intense drumming, and blistering vocals, the album gives us more of the sound fans have come to know and love, and longtime listeners are sure to be pleased. However, by using the same formula that they have been for over two decades, longtime listeners may find themselves craving something a bit more innovative and new from the veteran band. Still, this album offers plenty of headbang-worthy riffs, dark melodies, and pummeling blast beats that would make any metalhead smile.
Formed in 2001, Michigan metal masters The Black Dahlia Murder have since cemented themselves as one of death metal’s quintessential bands. While often considered to be a melodeath band, I hold TBDM to be among the purest forms of old school death metal, a contemporary rendition of the genre pioneered by the legends in Death. Servitude is The Black Dahlia Murder’s first release since the passing of beloved frontman Trevor Strnad, and the stakes couldn’t have been higher; stepping into the vocal spotlight is rhythm guitarist Brian Eschbach, and while the loss of Strnad’s unique presence is undeniably felt, Eschbach rises to the occasion with commendable force. Former TBDM guitarist Ryan Knight also rejoined the band to fill the spot Eschbach left behind, ensuring the band stayed true to the sound they’re known and loved for.
From the very first note, it’s clear that Servitude is designed to satisfy fans who have been following the band since their early days. The riffs hit with the same face melting intensity, the drums are blazingly quick and aggressive, and the overall style is perfectly TBDM. I was skeptical if they could maintain their core identity after the lineup adjustments, but had I not known of the changes beforehand, I never would have been able to guess based on the music alone. Knight was previously a guitarist in the band, so it came as no surprise that he still fit in, sounding just as great as before. However, I was caught off guard by how close Eschbach’s voice is to Strnad’s: when I first listened to the album, I had to double check if the band used vocal tracks left behind by Strnad or if it was in fact Eschbach singing. Strnad was such a monumental figure in the metal scene and his voice was so distinguishable and characteristic of The Black Dahlia Murder that a different vocal style on their new work would almost feel disingenuous, so that came as a relief to me.
The album does a great job of mixing melody into the relentless brutality, sprinkling beautiful leads in with the crushing riffs and powerful vocals, and the crisp, modern production gives each instrument space to shine without feeling cluttered. Guitars from Knight and Brandon Ellis are as sharp and dynamic as ever, blending intricate melodic passages with crushing breakdowns and solos that inject just the right amount of flair into the chaos. Alan Cassidy’s drumming is another highlight, providing an almost surgical precision, particularly in the rapid-fire double bass and blast beats laced throughout the record. I wish there was more to talk about in Max Lavelle’s bass, but in typical TBDM fashion, the bass is barely distinguishable in all but a few sections. Vocally, Eschbach proves to be a worthy successor to Strnad, delivering a mix of brutal lows and searing highs that complement the music’s ferocity. Despite being thrust into such huge shoes, Eschbach’s performance is commanding, and his switch from guitarist to frontman feels remarkably natural. His vocals are well-placed in the mix, never overshadowing the instrumentation, but still bringing a menacing presence that carries the album’s darker themes.
While Servitude doesn’t necessarily break new ground for the band, that’s hardly a criticism; The Black Dahlia Murder has never needed to stray too far from their core formula because they’ve honed it to near perfection. While I do wish they’d have given us something novel, I can understand why they decided to maintain their signature sound, especially for this particular record. This album brings a sense of renewed vitality, a statement that the band is not only surviving but thriving in the face of tragedy.
In conclusion, Servitude is a solid and enjoyable work from The Black Dahlia Murder, and while it doesn’t radically alter their sound, it brings the greatness we’ve come to expect from the band. Long-time fans will find plenty to love here, and even those unfamiliar with their catalog will appreciate the intensity and musicianship on display. It’s an album that reinforces why TBDM has remained a staple of the death metal scene for so long. With the new lineup changes, the band still has potential to push their sound in new directions, now that they’ve proved that they’re still very much a force to be reckoned with.
