Carrying on with a different lead singer is common in rock music—metal in particular. Black Sabbath and Iron Maiden are brought up routinely. Exodus has its own well-documented history, and of course, AC/DC if you want to get secular. But there was something different about the loss of Trevor Strnad of The Black Dahlia Murder.
Maybe it was because the band belonged to my generation. Or because Strnad was such an approachable figure in the genre. Either way, his tragic passing in 2022 left a void in the scene. The rest of the band decided to face that tragedy with the release of their 10th album, Servitude.
I can’t speak for the members of The Black Dahlia Murder, but I imagine it wasn’t easy to continue.
Though, it might help that the group chose to keep things in the family. Taking over lead vocal duties on Servitude is co-founder/guitarist Brian Eschbach. Additionally, the band welcomed Ryan Knight back into the fold as a guitarist after his departure in 2015. Even though the lineup remains in-house, an air of apprehension filled the air. What would The Black Dahlia Murder sound like moving forward?
At first listening, Servitude sounds like The Black Dahlia Murder.
The unfounded worry about the band’s direction felt like a distant memory after the first minute of the opening track alone. The blast of the rhythm section coupled with the intensity of guitar wizardry come together with the guttural vocals of Eschbach. It’s obvious he isn’t trying to cosplay Strnad, but his cadence and delivery aren’t far from what fans enjoy. As a guitarist myself, I think Eschbach approaches his vocal duties with an emphasis on percussive rhythm as opposed to Strnad’s expressionism.
Servitude is a skull-crushing experience that stands on its own in the band’s catalog.
Both in production and lyrical themes, Servitude doesn’t stray too far from the band’s ethos. Things are blistering and chaotic when their upbeat and dark and sinister when the tempo drops. While still feral and poised, The Black Dahlia Murder has never focused on complexity in terms of arrangements.
However, there are a few surprising plot twists throughout the lean runtime. During the mid-tempo sections, drummer Alan Cassidy showcases some unconventional signatures that elevate the overall urgency. Personally, bassist Max Lavelle could be a bit louder in the mix, but the rhythm section is still unmatched.
With Servitude, it’s clear that The Black Dahlia Murder aren’t interested in reinventing the wheel as much as they want it to keep rolling. A certain unspoken cathartic energy weaves in and out of each of the 10 tracks. On paper, that sounds like the group may be playing it a little on the safe side. But in reality, I think this is the sound of a band healing. Mourning the loss of a loved one is never easy, but it’s a whole lot easier when a family works together with the common goal of honoring a legacy. In that case, Servitude is a brutal triumph.
Original cover art photo by Marshall Wieczorek. Servitude is available now on Metal Blade Records.