I had to come out of hibernation to review this masterpiece: Abysmal by The Black Dahlia Murder. For all who care to know, I have been going through constant transitions in my life, and a lot of personal stuff has happened ever since I stopped worked on this site. That’s enough about me for now, I promise that this review will be more interesting than my life.

The Black Dahlia Murder has come out with yet another scintillating release, this time entitled Abysmal. This album is their seventh studio record to date, and it continues the diabolical and aggressive sound signature we have enjoyed in previous records. Abysmal is absolutely relentless and intense throughout the entire 39 minutes, leaning much more toward the death metal side rather than the melodic side of this genre. If you’ve heard the recently released The Ride Majestic by Soilwork, you’ll understand that even though both bands are classified as melodeath, the sounds are polarizing different. Whereas the uplifting and powerful atmosphere we get many European melodeath bands (Scar Symmetry, In Flames), TBDM formulates a chilling and chaotic tension similar to that of a terrifying horror film. Travis Strand’s vocal performance once again excels in this record, returning with the incredible tonal and style fluctuations we’re all familiar with. Seriously, how this man’s ability to transition so smoothly from screams to growls and stay in pace with the instrumentals is simply jaw-dropping. Compared to Everblack, the tempo and intensity of the vocals are cranked one notch higher, as witnessed on tracks such as “Receipt” and “Threat Level No. 3”. The former might be the craziest melodeath track I’ve heard in a long time, with Travis screaming so inhumanely fast that it reminded me of “Rap God”. To top that off, they’re delivered with such sharp punctuality and clarity that I was able to easily follow along with the lyrics. And I’m not talking about the guttural mess we get with many modern “slam” bands. The instrumentals accompany Travis’s vocals harmoniously throughout the entire album, switching seamlessly between the more melodic choruses to the chaotic intros and bridges. Aside from a couple of tracks that I didn’t enjoy quite as much, the majority of this album is pretty damn catchy. However, I would still say that Everblack is a better album overall, just because of the strikingly memorable riffs and choruses featured on songs such as “In Hell is Where She Waits for Me” and “Into the Everblack”. Tracks on Abysmal simply don’t feature as many outstanding and jaw dropping moments compared to their former release. The solos showcased are decent as well, but like I’ve already stated, not quite on par with the ones featured on their previous albums.

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https://www.youtube.com/watch?v=8ZhQbv7pIKI