The Black Dahlia Murder – Servitude (Album Review)

The Black Dahlia Murder returns after enduring significant hardships over the past few years, but unfortunately, their latest album, Servitude, doesn’t feel like a triumphant comeback. Instead, it sounds half-baked, repetitive, and lacking in originality. While the band’s signature melodic death metal aggression is still present, the album struggles to capture the energy and creativity that once set them apart. Rather than feeling like a fresh step forward, it often comes across as a band forcing itself to sound like The Black Dahlia Murder, but without the same bite.

One of the album’s biggest issues is its lack of standout moments. Sure, the songs are fast, heavy, and technically proficient, but they blend together too much, making it difficult to distinguish one from the next. Out of the ten tracks, only a couple manage to break away from the monotony.

• "Mammoth’s Hand" stands out by incorporating a progressive edge, making it feel more fleshed out and engaging compared to the rest of the album.
• The title track, "Servitude", has a bit more weight and drive to it, giving glimpses of what the album could have been if the band had pushed themselves further.

Unfortunately, the rest of the record suffers from sameness, with riffs and song structures that feel too safe and uninspired.

The guitar work, typically one of The Black Dahlia Murder’s strongest assets, is a major disappointment here. The riffs sound nearly identical throughout most of the album, making it difficult to pick out anything truly memorable. The solos, which are present in almost every song, also fail to impress. Rather than adding depth or excitement, they drag on for too long and feel uninspired, making their inclusion feel more like an obligation than an enhancement.

At times, the riffs even feel a bit too reminiscent of Dethklok, which unintentionally gives the album a cartoonish, generic quality rather than the razor-sharp precision the band is known for. While there are brief moments of strength, like in "Servitude" and "Mammoth’s Hand", they aren’t enough to carry the album past its repetitive nature.

The bass work does have some presence, sounding thick and beefy at times, but it never really takes center stage or adds much to the overall impact. Tracks like "Asserting Dominion" and "Panic Hysteric" allow it to shine a bit more, but for the most part, it sits in the background without making a lasting impression.

The drumming, however, is one of the most consistently solid aspects of the album. The performances are tight, energetic, and filled with dynamic fills that help keep the songs from feeling completely lifeless. Songs like "Aftermath" and "Cursed Creator" showcase some strong, creative drumming, injecting some much-needed variety into the record.

The biggest question going into Servitude was how the new vocalist would fill the shoes of their late frontman. On the opening track, "Evening Ephemeral", it’s clear that the new vocalist is trying very hard to emulate the band's previous style, but the performance feels a little forced. As the album progresses, however, the vocals start to develop their own identity, feeling more natural by the later tracks.

That being said, the repetitive nature of the instrumentals overshadows the vocals, making it difficult for them to truly shine. While the vocal performance isn’t bad, it also isn’t enough to carry the album past its uninspired songwriting.

The production quality is good, which is one of the album’s saving graces. Every instrument is clear and well-mixed, and nothing feels too low or drowned out. The pacing of the album is also fast-moving, which makes it easy to get through quickly, but also reinforces the feeling that everything is blending together too much.

Servitude feels like a band trying too hard to sound like itself, rather than evolving or taking any risks. While there are flashes of quality—particularly in the drumming, a couple of standout tracks, and the solid production—the album overall feels uninspired and overly safe. Instead of delivering a fresh, revitalized take on melodic death metal, Servitude ends up recycling the same ideas without injecting anything truly new or exciting.

If you’re a die-hard fan of The Black Dahlia Murder, you might find some enjoyment here, but don’t expect anything groundbreaking. If you’re looking for a fresh, inspired take on melodic death metal, this album might leave you feeling underwhelmed.

At the end of the day, Servitude isn’t necessarily bad, but it’s far from the return to form that many fans were hoping for.