Music / The Black Dahlia Murder

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Circa 2017

The Black Dahlia Murder are an American melodic death metal band hailing from Detroit and formed in 2001. They released a demo entitled What a Horrible Night to Have a Curse, and a four-track EP, A Cold-Blooded Epitaph. Soon afterwards, they were signed onto Metal Blade Records and have stayed there for all of their albums as on 2013.

For the third album, they toured alongside with Cannibal Corpse, Æon, The Red Chord, Goatwhore and The Absence in 2007, and again in 2008 with 3 Inches Of Blood, Hate Eternal, and Decrepit Birth, followed by another alongside Brain Drill and Animosity (which infamously ended up going very poorly for Brain Drill due to a certain incident at a border crossing). John K has left the band and was replaced by Ryan Knight of Arsis fame during the beginning of 2009

In February 2011, The Black Dahlia Murder completed the songwriting process for the their fifth studio album, entitled Ritual. It was released on June 21, 2011 in North America to outstanding critical acclaim. The band supported Amon Amarth on their May 2011 European tour, as well as headlined the 2011 Summer Slaughter tour, both in support of Ritual. All was going well until Shannon Lucas announced that he was leaving to pursue other career paths, with Alan filling in as support before joining full-time. Despite their leaving, they announced that they would continue writing music. In 2013, Everblack was completed and announced for a Summer Release.

In 2015, the band finished writing and recording their seventh release, Abysmal. As of February 2016, Ryan Knight has officially left the band, but both parties stressed that it was on the best of terms and that he did his best to make it as easy as possible. Brandon Ellis was picked by Knight as a fill-in and eventually became their new full-time lead guitarist.

Members:

  • Brian Eschbach – rhythm guitar, backing vocals (2001–present)
  • Trevor Strnad – lead vocals (2001–present)
  • Max Lavelle – bass (2012–present)
  • Alan Cassidy – drums (2012–present)
  • Brandon Ellis - lead guitar (2016-present)

Notable Past Members:

Discography:

  • Unhallowed (2003)
  • Miasma (2005)
  • Nocturnal (2007)
  • Deflorate (2009)
  • Ritual (2011)
  • Everblack (2013)
  • Abysmal (2015)
  • Nightbringers (2017)


TropEverblack:

  • Afterlife Express: "On Stirring Seas of Salted Blood" with a side of Flying Dutchman.
  • Ascended Extra: Alan Cassidy and Brandon Ellis were both live fill-ins before becoming full-time.
  • Bald of Awesome: Brian Eschbach.
  • Big Fun: Trevor Strnad. Shannon Lucas was also this, and it led to lots of "TBDM = melodic death played by a bunch of hairy fat guys" jokes. It seems to be a common phenomenon within the band due to their hard-touring lifestyle and long sedentary periods while on the road, as Brian is also heading here and Alan himself has started to develop the Black Dahlia gut; Max has so far averted this by bringing weights and lifting on the road (though he qualifies when bulking), and only time will tell if Brandon manages to avoid this or not.
  • Body Horror: An occasional theme, with "A Selection Unnatural" (about a horribly deformed baby) being one of the more notable examples.
  • Cannibal Larder: "Jars".
  • Career-Ending Injury: Subverted with Zach Gibson; while a combination of injuries and neurological problems have prevented him from being able to play at the level that he used to play at with The Black Dahlia Murder and Gutrot, he is still active as a drummer with Nightkin and Shit Life. He's just never going to be able to play ultra-fast blasting material again.
  • Carpet of Virility: Many a joke was cracked about Shannon Lucas' extreme amounts of body hair.
  • Contemptible Cover: Abysmal. While most of their covers have been pretty tame, this looks like something that could have easily come from a slam act.
  • Darker and Edgier: This could be said both musically and lyrically for melodeath standards; within their releases, Nocturnal and Everblack have both served this purpose..
  • Deadly Decadent Court: "Nocturnal", with the court being a secret society of vampires who really want to try and bring about eternal night.
    • Also, the cover art for Deflorate.
  • Dude Looks Like a Lady: Brandon Ellis.
  • Early Installment Weirdness: Their first demo, which was pretty straightforward (if not somewhat more aggressive) melodic metalcore with none of the horror themes that would later become their trademark.
  • Eldritch Abomination: "Thy Horror Cosmic" and "Throne of Lunacy".
  • Fate Worse Than Death: "Catacomb Hecatomb" has a truly horrifying one: zombified by a monstrous undead spider to slowly be consumed by her offspring for eternity while conscious.
  • God Is Evil: "Their Beloved Absentee".
  • Hair Today, Gone Tomorrow: Brian Eschbach. The joke is that Max's hair got longer as Brian lost his, and he is currently bald.
  • Humanoid Abomination: "The Blackest Incarnation".
  • Human Popsicle: "I Will Return".
  • I Love the Dead: One of Trevor's most common lyrical themes. Listing all the examples would be exhausting. "Deathmask Divine" is the most famous.
  • The Legions of Hell: "Black Valor".
  • Lighter and Softer: Abysmal is easily their most melodic release since Miasma and stands in contrast to a string of albums that progressively upped the heaviness.
  • Meaningful Name: Their name is taken from the infamous 1947 Hollywood murder, never solved, of a young woman named Elizabeth Short who was cut in half at the torso, given a Glasgow smile, and drained of her blood. This is fitting as they commonly have horror-related lyrical themes, and they finally did a song about the titular murder on Everblack with "In Hell Is Where She Waits for Me".
  • Melodic Death Metal: Probably one of the heaviest bands in the genre, if not the heaviest.
  • Metal Scream: Strnad is known for his vocal chord-crackling type 3 shrieks, but he also throws in type 2's here and there.
  • Miniscule Rocking:
    • Nocturnal gives us "I Worship Only What You Bleed"
    • Deflorate has "Death Panorama"
    • "Den of the Picquerist" off Ritual.
  • Metalcore: The band had small influences in their older albums. This sound crept up a little bit here and there on Unhallowed and made more of a comeback on Miasma before disappearing altogether on Nocturnal. Despite this, they still get the metalcore tag, solely because of their older days when they looked more like hardcore musicians.
  • Mohs Scale of Lyrical Hardness: Usually around a 9-10, due to their heavy use of Nightmare Fuel-rific imagery and themes.
  • Mohs Scale of Rock and Metal Hardness: They solidly stay at a hard 10/borderline 11, though some songs can go down to a very hard 9 or even climb up to 11, a huge feat for a melodeath band.
    • For specific songs, the title track off Miasma is a hard 9, "Into the Everblack" from Everblack is a hard 10, "Climatic Degradation" and "What a Horrible Night to Have a Curse", both from Nocturnal, are borderline 11's, and "A Vulgar Picture" from Miasma is a soft 11.note 
  • Mood Whiplash: The opening track to Ritual, "A Shrine to Madness", opens with a baroque classical melody... Before all the brutality of the band's signature sound is thrown in.
  • Motor Mouth: Trevor occasionally indulges in this, but "Threat Level No. 3" is basically an entire song of this. Have the lyrics handy or you will get left behind.
  • Murder Ballad: They really love these, with "Climactic Degradation" and "In Hell Is Where She Waits for Me" being among the most famous.
  • New Sound Album: Several:
    • Unhallowed was where they fully took the plunge into melodic death metal that was hinted at on their second demo and A Cold-Blooded Epitaph.
    • Nocturnal was where they shed the last of their metalcore elements and started playing up their heavier influences.
    • Everblack was a far darker album with prominent brutal death and black metal influences that was, as a whole, distinctively less melodic and more foreboding and ominous than any of their earlier output.
    • Nightbringers has prominent Power Metal influences with a greatly increased focus on leadwork and far more frequent gang vocals. This can likely be owed to the influence of Brandon Ellis, who wrote almost half of the album and played a large role in its creative direction as a whole.
  • Ode to Intoxication: "Great Burning Nullifier". They sure do love weed.
  • Our Werewolves Are Different: "Moonlight Equilibrium", where the lycanthropy seems to be a genetic curse.
  • Out-of-Genre Experience: "Den of the Picquerist" and "Hellion", which are grindcore songs.
  • Pædo Hunt: "Threat Level No. 3".
  • People Farms: "Blood Mine", where humans are being factory-farmed by a race of vampires.
  • Professional Killer: "Widowmaker".
  • Rapunzel Hair: Trevor and Brandon.
  • Revolving Door Band: Their heavy touring schedule leads to regular turnover. Trevor has acknowledged that their lifestyle takes a toll and isn't for everyone; when you're on tour for close to two-thirds of the year and getting by on minimal sleep and shitty, largely unhealthy food, you're more likely than not going to burn out at some point.
  • Sampling: Unhallowed made good use of this.
  • Scary Musician, Harmless Music: Inverted: from what is seen from the music videos, the band members appear to be nice, fun-loving metalheads, and people who have met them or toured with them will back this up. But their music is dark, brutal and extremely crushing.
  • Sesquipedalian Loquaciousness: Miasma means noxious exhalations from putrescent organic matter; poisonous effluvia or germs polluting the atmosphere.
  • Shout-Out:
    "Rest in festering slime! Here burns the souls/Of a thousand generations, JOIN THE CLUB!"
    "Ghouls, attack the church, crush the trinity dead!"
  • Signature Style: Blazing, aggressive melodic death metal with extremely fast drumming, chainsaw guitar riffs, Trevor Strnad's signature ear-splitting screeches, and very noticeable brutal death metal influences. Knight and Ellis both have (or had, with Knight) distinctive guitar styles as well; Knight had a heavily fusion-influenced style with lots of clean legato and extended tapping runs, while Ellis has a far more aggressive style with a very exaggerated, howling vibrato and lots of alternate picking runs.
  • Song of Song Titles: "We Dead Are Best Left Underground".
  • Soprano and Gravel: Trevor is capable of both guttural lows and his trademark highs (though layering in the studio means that Brian has to do some of his parts live), while their first demo featured actual cleans on several songs.
  • Start My Own: Lock and Gibson (along with Mike McKenzie and several other people) started Nightkin in 2012, while Williams started Necromancing the Stone with James Malone, Jeramie Kling from The Absence, and several others.
  • The Stoner: Trevor.
  • Take That!: "Denounced, Disgraced", melodramatic fantasy flourishes aside, was a pretty unambiguous "fuck you" to John Kempainen, who had contributed absolutely nothing to the band during his time (not even leads, as he never bothered to write them and improvised them on the spot when Trevor and Brian told him that it was time to track his parts and tried their best to give him an idea of what they wanted), did the absolute bare minimum, and wound up quitting with little notice right before a major tour.
  • Up to Eleven: They did this to Melodic Death Metal in regards to musical and lyrical hardness.
  • Vocal Evolution: While Trevor's lows have stayed largely unchanged, his highs used to be lower, more hoarse, and generally more hardcore-esque. Nocturnal was roughly the point where they turned into the far more famous piercing shrieks.
  • Wolverine Publicity: Between his status as the Face of the Band, major social media presence, and incredibly prolific guest vocal appearances, Trevor's face is on a lot of things.
  • Zombie Apocalypse: "When the Last Grave Has Emptied".
  • Zombie Infectee: "As Good as Dead".
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