They have rightfully positioned themselves as this generation’s Cannibal Corpse – gruesome, melodic extremity is in capably blood-stained hands.
No longer dismissed by cynics as metalcore upstarts (not that they ever fit said billing; must have been the misleading haircuts), and now on to their sixth LP, The Black Dahlia Murder are rapidly becoming death metal lifers.
While hardly revolutionary and rooted heavily in Carcass-style melody, Floridian crunch and occasional blackened eeriness, the Americans have yet to unleash a dud record. Their overall style changes little, merely refining their approach fractionally with each subsequent album. It works, though. There's more emphasis on groove and melody; even enlisting the new rhythm section of Max Lavelle (Despised Icon) and Alan Cassidy (Abigail Williams) hasn't impeded their progress. These tracks hit home with sledgehammer force, but are drenched in the chilling hooks and macabre atmosphere they've long excelled at. Rich with brutal, yet dexterous riffs and blistering, but fluid leads, Brian Eschbach and fellow axeman Ryan Knight have upped their game, making their capacity for penning razor-sharp hooks seem effortless on (brilliantly titled) Phantom Limb Masturbation and Map of Scars. Multifaceted Trevor Strnad growls and shrieks like a wounded animal throughout Every Rope a Noose, weaving sickening horror-based narratives sure to have devotees clutching at invisible oranges. Menacing opener In Hell Is Where She Waits For Me is the first time they have directly tackled the infamous unsolved murder case which inspired their moniker; a crime even nastier than their ugly, visceral music.
As they approach veteran status, The Black Dahlia Murder are carrying the classic death metal torch with pride and vigour. They have rightfully positioned themselves as this generation's Cannibal Corpse – gruesome, melodic extremity is in capably blood-stained hands.