Review of "Everblack"

Alright you guys. I've noted that this blog so far has been all about personal things, so I'm going to stop that trend and use one of the other two things it was meant for: CD reviews.

As we know, The Black Dahlia Murder's 6th studio album "Everblack" Drops in stores on June 13th. However, I got it early thanks to preorder, so the plebeians who will be getting it 3 days from now, can suck it. However, I'm being kind and giving a review of the album, song by song, right now for the understanding and personal view of it, from the eyes or yours truly, Dr. Gungnir Blues.

So, what better place to start than the beginning, with the preorder package itself? Within the package came the album itself, an "Into The Everblack" T-shirt, and an evidence bag. Now I know what you're thinking, what the fuck gave with the evidence bag? Well, it's a promotional series that the band is doing, of which is a scavenger hunt for evidence for the murder of the members. I got the bag with the murder of Brian Eschbach, one of the guitarists and composer of TBDM (If I would have gotten Trevor's bag, I might have broken down). The bag contained a 12 gauge shotgun shell, a bloodied handkerchief (which I intend on wearing with my suit, by the way), a picture of the dead member, and a part of a note, most likely the key part of the murder case itself. My mother took to glaring at the picture and wondering what the hell is wrong with me, but hey, that's normal.

Now for the album itself, and for this, I'm listening to each song for the 3rd time as I review them.

The first song, "In Hell Where She Waits For Me" is an excellent example of the progress the band has made over the years that they have been playing. This is their 4th studio album where the intro song didn't serve as an introductory song (as opposed to the albums "Miasma" and "Unhallowed") This song shows of the style the band switched to in "Deflorate", with heavier guitars and very in your face riffs. 2 in a half minutes in is where I started headbanging, every fucking time. Because it's easy to get into. I must say, I enjoy where they went with the band. They've become heavier, and more talented, which is fucking beautiful, because that doesn't happen often. The guitar solo, laid down by Ryan Knight, although not very long, it hits the metalbone in everyone, the simplistic yet technical chords kinda say "Yo bitches, I came to lay down some sicknasty solos" Of which he does.  The song ends abruptly, causing a little bit of confusion but hey that's fine, which moves us on to the second song

Goat of Departure. That's what it's called. The second song on this album, I firmly believe, is an ode to metal's classic mascot, The Goat. We throw up the symbol at concerts, idolize it in religion, and sometimes raise them as friends and sources as milk. Well, The Black Dahlia Murder did a fucking song about them. But not quite. However, what's interesting about this song is the cheesy yet kickass chant of "six six six" about midway through the song. What also makes it interesting is that the chant is the lead into another short but this time more brutal guitar solo. The song is proooobably one of my least favorite on the album but it's an interesting prospect on taking something cheesy in the metal universe and using it to make a song better.

Now then, onto the title track, "Into The Everblack".... that was not intentional. The fans of The Black Dahlia Murder absolutely ate up this fucking song when it was first streamed. Myself included. I must say, this is what made the orgasm over the coming of this album so... ripe. This song fits the meta of the title track being the best thing on the album (except for my case because of my hard on for evil dead... that'll come soon) and it also gave us fans a chance to see that The Black Dahlia Murder was trying something.... amazing. This let us know that the band miiiiight be taking the chance to lead into Blackened Death Metal, which is showcased by kickass bands like Anaal Nathrakh. The bridge to this solo was amazing, the cries of the dying in the background made it a lot more Daemonic, which makes the solo even more beautiful. Ryan Knight laid down the dunkiest of solos, ripping shit to the melodramatic drum and bass background. After the solo the lyrics take a faster spin, bashing Christianity (always a fucking plus in my book) and at 3:35 I swear I caught whiplash. The riff there just, for some reason I love it. I can't explain it. After that it's just the kickass chorus again, concluding the title song on a really good foot.

Which leads me into my favorite song on the album: Raped in Hatred By Vines of Thorn. Jesus fuck that's a brutal title. This song just brought about one of the most easily exploitable hard-ons about me: Evil Dead. Yes, this song is about the tree rape scene in the original (and new, but Trevor confirmed this was based in the original) Evil Dead. The delivery on the chorus is top notch, the lyrics in the first verse personify the woods themselves rather nicely, instead of the staple 'you know she's fucked' kinda deal from the movie. This song also goes in depth to describe the rape itself, and the toll on the girl's body. Like, son of a bitch this song is actually perfect. "Behold the wrath, of the Necronomicon" is where I really get into it, because I love all lore dealing with the Necronomicon. This song (along with the band, I guess) does the one thing no man or woman has ever done... blame the stupid fucking people themselves for touching the Necronomicon instead of just, blaming fate or something stupid like that. Fuck, they touched it! along with the kickass solo, which goes more for technical brutality rather than brute.... brutality. Yeah whatever. It just goes back to the first chorus, ending off on a rolling note of the first riff. Which is beautiful.

The fifth song on the album (halfway there!) is called Phantom Limb Masturbation. Now, you must b wondering what Phantom Limb is. I learned about this through "John Dies at The End". Phantom Limb Syndrome is when an amputee can feel the missing limb and even feel as though they can act with it. However, this song isn't about jacking off with a missing right hand, it's about one mans... obsession with being amputated, and the lengths he would go to have to be operated on. I've realized that the song has a mini solo before the actual solo, which just begs for slow headbanging. After the solo the lyrics describe the lengths of amputation again, begging to be cut down to "perfect size" I'm not sure what that means, but I'm guessing it's just being a torso without limbs. And maybe the song title can be used to describe having no limbs, yet PLS'ing jacking off...? Fuck man I don't know. The song pans out with a kickass riff and the sounds of rain in the background, along with a train and... hammer strikes? Bringing the bill to song number six.

Control is an interesting song, as far as lyrics go. It's about a control freak gone to far. The first verse contains my favorite fucking lyric from the album, which is "Welcome to my nightmare feel free to make yourself at home." Shit is beautiful. Trevor also uses a very interesting word I will use in term of "whore" from now on, of which is "fuckdoll". Any way... the song itself is a very quick-styled song, kinda similar to "Den of the Piquerist" from Ritual. However, unlike "Den of the Piquerist" and "Death Panorama" (which is off of "Deflorate"), this song is approximately 2 and a half minutes long, with a bad ass full length solo.

Song 7. This is titled Blood Mine. This song could be equated with Vampirism, because of the description of consuming blood. However, it could also be allotted to cannibalism, but not so much. The song has a heavier, more brooding tone than the others, which is why it captivates me a little bit. I love the chorus because of the declarative tone Trevor takes when yelling "Blood Mine". Blood Mine is a song where Trevor gets a tad bit more into prose, making it more lyrically effective (The best in this category still Raped in Hatred by Vines of Thorn in my opinion) Uhh. Not much I can say more about this song since I've given why I enjoy it.

Song 8 goes to Every Rope a Noose. This song is more fast paced, but unlike "Control", its more full length. Truth be told, I don't quite like this song as much, but it seems like the kinda song where it'll grow on me. It gets me going, and I love the riffs employed, it's just, it didn't have the flair of the other songs at first. But hey, it's still a pretty good song. I think once I get to know it I'll like it a tad more. One thing I did particularly enjoy was the lead into the solo, and the solo itself. I have to say, probably one of the better solos laid down on this album. The piano pan out to the song was also pretty interesting and a different spin on the album.

Now we get to Their Beloved Absentee. This song starts with a somewhat happy chant in the background which increases in volume, then heavy as guitars from fucking nowhere, like good shit. I enjoy the drums in this song, their rhythm just kinda, helps you to feel it. Not to mention the fact that I have a best friend who plays drums. So yeah. Like I said, since I didn't feel captured by this song, I don't have much to say about this one either. However, I do have to say that I like the rhythm changes throughout, and the lyrics are dipped in classic Trevor prose more than the others. Wait a second. Through my 3rd listen of this song, I realized that they placed the solo very strategically. I mean, I didn't even expect it. It was like a guitar solo bitchslap and I liked it... whatever. The song is another one of those that grows on you. That tends to happen on their albums, it's perfectly normal.

Song 10. Map of Scars. The Last one on the album. This is a fucking great song to leave off on. I mean, people might say "hey what the fuck man, songs about cutting are for bitch bands and stuff herrderr" But, I'll defend here. The Black Dahlia Murder pretty much got to the meat and potatoes on the whole cutting thing. A pretty accurate description of a fair percentage of the situation. The song goes into description of two girls, quite possibly sisters, who both cut. These girls fuckdoll themselves out, drink, pop pills, all that shit. Their father is abusive and theur mother is negligent. I have to say, it's accurate. People who cut have one or more of these things backing the "affliction" I guess you can call it. (trust me guys, I have experience).
The reason I say this is the perfect song to end an album on is because it's a subject that is relatable to many people, especially in the metal community apparently, it kinda reminds the listeners of a refined mixture of "I Will Return" (From Deflorate) and "Blood in the Ink" (From Ritual) because of the ritualistic act and the kickass instrumental ending. Seriously, the song "Map Of Scars" kinda hit me in the face when I first heard it, because I says to myself "Holy fuckin shit this is the perfect way for a metalhead to understand cutting, because it's fucking accurate to the situation and it's just.... good. Like the song is fucking delicious."

Speaking of things being delicious, the entire album is fucking gold, and it's a kickass transition from Melodic Death Metal to Blackend Death Metal, should they choose to go that route, either way it's heavy as fuck. If I had to rate it as a musician, I'd have to give it a 9/10, as a fan, a 20/10, because this shit is fantastic, and I can't wait for more of their shit.

Stay tuned for a review of "Deceiver of The Gods." From Amon Amarth, the Viking Metal powerhouse. Sadly I didn't preorder this because money, but I will get it, you bet your asses.