The album starts with an ominous recording on “In Hell is Where She Waits for Me”, upon listening one feels it, The Black Dahlia Murder is back for more blood. Boom! Like a rocket, the music jets forth with tremendous force and speed. The listener is finally allowed a quick breath for that feeling to really sink in, mid way through the song when the chorus hits. It chimes in superbly with both the right timing and speed contrast. Trevor Strnad’s signature screams then sail listeners off magnificently into a skillfully ear opening shredder of a guitar solo, before playing out relentless destruction until the last second. Mr. Strnad describes “In Hell is Where She Waits for Me” as being,
“…at Elizabeth Short’s funeral, looking over the shoulder of her killer, who is silently (and anonymously) in attendance. It tells the tale of his brief love affair with The Black Dahlia and his motives for cutting her down in such a grisly, vengeful manner. I’ve wanted to do a song dealing with the actual murder for some time; I thought it would be nice gesture for the fans…”
There you have it, after years, the significance of the band’s name has come to fruition. And with lyrics like,
“…the coffin is sealed face to go unrevealed, but I dare know what lies underneath, two bloodless halves of a dark flower dead…dead and famous, at last she’s made it, her mangled face, haunting shameless, the death of peace, endarkened times, crowned an immortal yet stricken of life, the headlines read ‘Young Starlet – Dead!’, drained of her lifesblood and nourished with shit, so-domized, defe-minized, I am the victor, vengeance is mine…,”
Mr. Strnad paints a pretty vivid image of the carnage, which took place so many years ago. It is a very fitting way to start an album, homage to not only the fans, but also Elizabeth Short.
Enter the “Goat of Departure”, a dark and heavy demon, reading more like a historical lesson in evil. It is yet another verbal ace, breaking through the conceptions of death metal being unintelligible blood, death, and gore. Remarkably, during the middle of “Goat of Departure”, the song takes a dramatic change, becoming even harder and darker, seemingly sucking you into the evil, rally the troops chanting beat. At the moment, it feels as if you are glimpsing into the 9th circle of hell, at Lucifer himself, before morphing into a flawless solo from the depths.
There is another dedication on Everblack, “Control”. Ironically, with more of a bouncy and uplifting sound, it is about Jeffery Dahmer, arguably one of the darkest and coldest serial killers in American history. Although, Dahmer stated he knew he should stop, welcomed the death penalty, and later repented, he also told the public, the urges would never stop. This small part of him definitely appreciates the immortality granted through the music:
“…a world of prurience, salaciously I experiment, driven by fear, of abandonment, to lobotomize, a dead stare in their eyes…suspended in vegetative throes, animated fuck dolls warm bodies with holes, all pleasures of flesh I now own, their past is forgotten eroded from the frontal lobe…”
“Blood Mine” is yet another piece of The Black Dahlia Murder talent. A song with thunderous drum work and a scaling melody chorus, coupled with descriptive lyrics,
“Forgotten miles below the surface, through catacombs of stone, in moss covered tunnels labyrinthine, the living breathing beasts, hosts to a meal most exquisite, the very blood their veins do keep…,”
the listener is treated to an exquisite feat of imagery. The Black Dahlia Murder continues to push forward and evolve their music into an immovable beast.
As a diehard The Black Dahlia Murder fan, June 11th truly was a glorious day. Every new album has a song that stands as the crème of their entire crop. After listening to the album over fifty times (conservatively speaking), it is actually “Seppuku”, the Japanese bonus track, however, seeing as most will not have access to this song, an in depth review would go unheard. This definitely should have been an 11th track, due to it’s magnificence in breaking death metal molds. Hard headbanging beats, wailing guitars, and a concise fitting solo, which translates back into the wailing solo-esque guitar riff. A riff redolent of a Scandinavian heavy metal style, it bridges perfectly between assertive picking and hard riffs, proving you can write dark thunderous music and still have thought out skillful melodies.
“Into The Everblack”