ALBUM REVIEW: Verminous – The Black Dahlia Murder

There’s few bands that can boast the incredible consistency of THE BLACK DAHLIA MURDER. Over the last 20 years, the quintet, led by front man Trevor Strnad and guitarist Brian Eschbach, have become one of the premier death metal bands in the world, releasing a collection of records that range from strong to top-tier. However, it was 2007’s Nocturnal that set the band on their current course to greatness, with every album following showing THE BLACK DAHLIA MURDER honing their craft and showcasing a whole new level of strength. In 2017, they reached their apex with Nightbringers (read our review here) – but, finally, after their longest gap between albums to date, Strnad, Eschbach and co. are set to unleash Verminous. But how does their ninth album stack up against one of the strongest discographies in heavy music? 

Verminous goes straight for the jugular with its opening title track, bringing THE BLACK DAHLIA MURDER‘s tried and tested brand of technical, melodic death metal to the fore before Brandon Ellis stamps his influence all over the soloing. This is the first taste of Ellis flexing his neo-classical vibrato on Verminous, but it won’t be the last. Godlessly bulldozes its way in with a grind-like ferocity, only barely slowing down for the hook-heavy chorus and more of Ellis‘ mind blowing soloing before Removal of the Oaken Stake makes its presence as one of the highlight moments of Verminous felt. Here, THE BLACK DAHLIA MURDER flirt a bit more with the blackened touches they’ve hinted at since Everblack, though the bulk of the track is devoted to that classic, instantly recognisable sound the quintet have carved out for themselves.

Video single Child of Night doubles down on the hook heavy melodic death metal THE BLACK DAHLIA MURDER are known for, bringing a healthy dose of brutality to the front. Strnad in particular sounds incredible here, his voice rawer and more old-school than ever. This mid-section of the album proves to be utterly devastating, as Sunless Empire crashes in, dripping with neo-classical flourishes, stomping groove and technicality – the solo work here is some of Ellis‘ best, which is a very, very high bar – before The Leather Apron’s Scorn brings an intense sense of unease and another dose of blackened tremolo riff work into play. So far, so brutal.

How Very Dead rounds of this incredible mid-section of Verminous with some of the most incredible and memorable riffing on the record before delving into a chaotic aural assault before the groovy The Wereworm’s Feast bursts from the speakers. Strnad‘s voice again is sounding better than ever here, and the bulk of the track is led by Ellis and Eschbach‘s melody-heavy riffing while Alan Cassidy continues his violent domination of the kit with atomic timing. Drenched in hooks and memorability, The Wereworm’s Feast is another highlight moment from an album that, thus far, has barely made a misstep. A Womb in Dark Chrysalis is a brief moment of sinister respite before Dawn of Rats brings Verminous to a close in thunderous fashion. Once again the blackened riffs shine through while Cassidy brutalises his drums, and Strnad delivers his iconic vocals. THE BLACK DAHLIA MURDER have a reputation of ending records with strong tracks, and this certainly continues the tradition.

There’s no arguing that, up until now, THE BLACK DAHLIA MURDER have a level of consistency that most bands could only dream of. Verminous continues this trend, and then some. Reinforcing their sonic arsenal with more neo-classical and black metal elements than ever before, the quintet are continuing to push the boundaries of how expansive modern death metal can be. This is THE BLACK DAHLIA MURDER at their very best.

Rating: 9/10

Verminous is set for release April 17th via Metal Blade Records. 

Like THE BLACK DAHLIA MURDER on Facebook.