The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet nay, a Google FORM some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

The Black Dahlia Murder is a band I’ve had the honor of watching develop throughout its entire career. With its debut in 2003, an album that I think stands up much better than the chuckleheads below, the Michigan melodic death metal act has been with me for twenty years. I saw them opening for bands before anyone knew who they were, and I was buying each new release on release day. In 2024, The Black Dahlia Murder faces new challenges, moving on from the tragic loss of vocalist and scene giant Trevor Strnad and they will release Servitude on the 27th of September (that’s tomorrow, yes). So, before I unleash my Very Important Opinions™ on the world about the new full-length LP, we thought that a romp through the band’s discography seemed in order. Note that anyone who tells you that Ritual isn’t their best album is lying to you. – Angry Metal Guy

The Ranking(s)

Dr. Wvrm

#9. Unhallowed (2002). At first glance, you would be forgiven for thinking Unhallowed is by a completely different band. This album is three kids standing on each other’s shoulders and wearing a trench coat next to the other records in this catalog. But despite how far TBDM still has to go from this point, Unhallowed has its positives. Its take on 90s Gothenburg is interesting, if not always good, and it certainly doesn’t lack energy. “Elder Misanthropy” is the first entry into the pantheon of all-time TBDM jams, even if it’s a messy one. It’s a long way up from here for the boys from Michigan, but you can clearly see the seeds of what’s to come in this debut.

#8. Verminous (2020). That Verminous is the low point of modern TBDM despite being pretty good says quite a lot about the level of output this band has maintained for the last 20 years. The album maintains the reflexive phase started by Abysmal (more on that in a bit), feeling more like a down-and-dirty expansion of their ideas on Everblack at times. The execution, however, falls further down than I’d like. For a band with bangers aplenty, Verminous never finds its bonafide hit and feels stuck in first gear.

#7. Abysmal (2015). Don’t get me wrong—Abysmal features some of the strongest fretwork in TBDM’s catalog (with Ryan Knight still on board at this point, who is surprised by this?). But coming at the tail of an incredible four-album run, Abysmal’s return to hyperkinetic hooks and solos begins a third phase in the band’s catalog. Instead of pushing onward and outward from the progressive attitude of Everblack, TBDM refocuses and uses the lessons learned throughout their years of experimentation to revitalize their core sound. As a result, Abysmal feels more like a transition record between eras than anything else. In theory, it’s not doing too much differently from Deflorate, and unfortunately feels a bit stale by comparison. TBDM would find a way around the all-been-done-before feel by their next album, but with Abysmal, the retread weighs a bit heavier than you’d like.

#6. Miasma (2005). Miasma demonstrates instant growth over TBDM’s debut. If Unhallowed was a rough attempt at mid-90s melodeath, Miasma surges forward to the turn-of-the-century fusion of melodic death metal and mainstream metalcore production.1 Though they wouldn’t stick with this sound for long, there’s so much across Miasma to like, from the cleaner production and maturing songwriting to the charisma that is now starting to bleed through every facet of the music. Strnad’s famous dual vocals really come into their own here, and the rest of the performances aren’t far behind. Though there’s still one piece of the puzzle remaining, you can see the full picture starting to resolve.

#5. Deflorate (2009). This album proved not only that TBDM wasn’t a one-album wonder, but that they also weren’t a one-trick pony. Ryan Knight joined the band from Arsis and overnight launched TBDM’s lead guitar capabilities into the stratosphere. But what looked like Nocturnal on nitro on its face sees, under the hood, Brian Eschbach’s songwriting quietly started to push the boundaries of the band’s imagination and capacity. Closer “I Will Return” veers hard left from everything to that point, touching on patient development and melodic progressions in a way that we could have only guessed TBDM was capable of (“Warborn”). It may lack the highs of some other records, but Deflorate is where TBDM started to show the depths of their abilities.

#4. Everblack (2013). Those of you who know I love TBDM know why I love TBDM,2 and what I want isn’t in steady supply on Everblack. What is, however, is perhaps the pinnacle of TBDM’s exploratory songwriting and certainly the heights of Knight’s solo abilities (“Into the Everblack”). Everblack is a grower in a catalog of showers, operating in many ways like a prog death album in its attention to detail and willingness to fiddle with genre conventions. It’s also Strnad at his most diverse, leading an excellent full-ensemble performance from melodeath to straight death to black metal and back again. My personal predilection for beeg boi melojams is the only reason this isn’t placing higher on this list; on an objective quality scale, Everblack is aces.

#3. Ritual (2011). Now we’re talking. Everything up to this point had something holding it back for me, be it concept, style, or execution. Ritual is the first record on this list where any quibbles I have are so minor as to be unmentionable. Delivering on the promise of “I Will Return,” Ritual ain’t afraid to get a little weird. Off-kilter takes like “Den of the Picquerist” are exotic curios from a faraway land next to two prior records that spent 95% of their runtime turning your ass into tenderized steak. Here, a more interesting weapon of choice filters into the core proceedings of the record, with offerings like “On Stirring Seas of Salted Blood” providing the perfect chaser to the moonshine shot of “Moonlight Equilibrium.” This is the band’s most complete offering, giving you a taste of everything TBDM has dreamt up over their career, and I venture that Ritual would be one (or two!) spot(s) on this list higher… if I weren’t such a weenie.3

#2. Nightbringers (2017). But I am such a weenie.4 Is Nightbringers effectively Nocturnal with the world’s greatest spit shine? Sure is, and cui gives a shit? It’s got the most polished bow on it you’ll ever see. If you like riffs, and if you like hooks, and if you like them at the same time and in copious quantities, Nightbringers is all you’ll ever need. TBDM poured fifteen years of hard-won lessons and honed songcraft into revitalizing one of the most well-loved and well-regarded (by people with taste) albums in the genre. As such, it feels fresh and new and worth every second of your time, rather than like a lazy nostalgia mine. Most bands would be so lucky as to ape a classic album half as well as this, let alone have it be their own classic album. Speaking of…

#1. Nocturnal (2007). Simply put, Nocturnal is TBDM. This record is the culmination of every moment before it, to where every moment traces back. It was an instant star-maker at the time and a bonafide classic in hindsight. At the core of the band, when you strip off the years of experience and experimentation, the one constant is this sound. Like no other band, TBDM reclaimed the ’90s Swedeath buzzsaw riff and forged it anew in a bloodbath of nitro, horror-movie worship, and unfailing self-seriousness. As Nocturnal unfurls, each track seems certain to be impossible to top, only for the very next entry to do just that. Trying to pick just one Nocturnal song for a playlist (like the one below) invites an hour of “Well wait, what about…” That might not be the best reason to put an album (or two!) ahead of what is an unquestionably more well-rounded entry in Ritual, but it’s certainly the best reason to consider it among your favorite albums more than fifteen years later.

Dolphin Murderer

I don’t typically consider myself a fan of melodeath at large. But select acts that rest on what I would consider the more intense and/or techy side, Intestine Baalism, Arsis, Quo Vadis, Neuraxis, Anata, really grease my grumpy gears. And, among those, naturally, rests the oft-imitated, not quite-matched American giant The Black Dahlia Murder. I didn’t explore their catalog as they were first coming to light as I wasn’t allowed to. You see, I fancied myself a metalhead and all the -core kiddies liked bad music like Darkest Hour, All That Remains, Trivium, and The Black Dahlia Murder. So it took until sometime in my early 20s, sometime around Ritual, to even consider hitting this hallowed act. All because a cute girl with a forked tongue happened to be in my college public speaking class and wearing a sick The Black Dahlia Murder tee. Turns out she wasn’t into dudes. But I lucked into a different partner out of it all, one with sick riffs and vocal prowess that causes newcomers to think that these Michigan boys have two vocalists.

Riff in peace, Trevor.

#9. Unhallowed (2002). Armed equally with the weight of Carcass low-end harmonies and At the Gates Björriffs, TBDM hit the ground running with a gluttonous, thrash-loaded, melodeath pittin’ spree. This debut Unhallowed couldn’t have been more emblematic of the consistency that TBDM would embody throughout their career. As the start of a sound that would become part of the heavy metal dialogue, it’s really almost there in terms of quality. Strnad may not sound as comfortable in his shriek ‘em high and rattle ‘em low vocal attack, but with riffs as nasty as the latchkey turndown of “Closed Casket Reqiuem” and “Hymn for the Wretched,” he doesn’t always need to be the focus.

#8. Verminous (2020). Despite this release being the most recent of the bunch, it is also the one I recalled the least going into this ranking. When Verminous came to be it landed on my ears as a disappointment, though not necessarily a bad record. Frankly, I don’t think TBDM is capable of that. However, Verminous takes risks that other albums haven’t taken, like turning the classical lower-tuned harmonic riffs and scooping them closer to true thrash tones. Simultaneously, this allows stringslinger Brandon Ellis’ treble-focused leads to play about in a fashion that tiptoes the line between power metal cheese and melodeath flamboyance (“Godlessly,” “Removal of the Oaken Stake”). Couple that with Strnad essentially rapping at a couple of points (primarily in the percussive bounce of “How Very Dead”), and you’ve got a solid album after all with a few new wrinkles.

#7. Abysmal (2015). Similarly to Verminous, Abysmal crawls about specific production choices that highlight lead guitarist Ryan Knight’s neoclassical, virtuosic warbling. Namely, it’s louder and thrashier. While the album that came before it, Everblack, never wanted for more shred, its rhythm-focused drive—a more death metal-focused TBDM stance—did not allow sonic space for Abysmal’s inclusion of additional instruments like cellos and violins to have a place amongst the assault. Furthermore, with the increased focus on Knight’s playful prowess, each song includes easy-to-recognize marks of differentiation, whether it be a snappy intro (“Receipt,” “Abysmal”), a wicked solo (every song), or a Strnad-led crusher (“Re-Faced,” “The Advent”). It’s hard to get too much of Knight, Strnad, or TBDM when they’re this fun and tight.

#6. Everblack (2013). If you’re approximately my age, then certainly you’ve heard cries of TBDM ”not being metal” or “being metalcore.” Did you know that Metal Archives doesn’t even list metalcore as a past iteration of their sound?5 Well, if nothing to this point had convinced you, then Everblack would be the one to listen to. Listen, I’m not going to sit here and say you should like TBDM, but with Morbid Angel riffs crushing through slower-than-blast pace numbers (“Into the Everblack,” “Phantom Limb Masturbation”), bass rattle that won’t quick, and Ryan Knight still doing that “is he Yngwie or Greg Howe” shred to fusion-y blues thing, Everblack gives plenty of reasons why you TBDM is a death metal act first. Though the album starts a touch slow and runs long for an experience that subsists almost solely on riffs, it’s very hard to say that anything should go away. Just carve a little more time if you’re gonna jam this one.

#5. Deflorate (2009). Representing the ultimate crystallization of the TBDM sound to this point in their history, Deflorate is an absolutely consistent experience. In different hands, hands that have trouble crafting good songs, that might be an issue. But sticking true to the TBDM formula of harmonic overload, At the Gates / early-Carcass riffs, and Strnad giving a performance that no vocalist could match in this lane, Deflorate is also an easy-to-enjoy success. Notably, this is Ryan Knight’s first appearance (fresh from a stint with melotech legends in their own right, Arsis) at the helm of lead shred duties, which allows Deflorate to have a quality of guitar heroism that no album prior quite had. That’s not to say that past leadwork was subpar by any stretch, but when you hear the elegance of play on tracks like “Necropolis” or “Christ Deformed” against any of the solo breaks that came before them, it’s a whole different ball game. Ryan Knight kills it and keeps Deflorate from being just another riff-rippin’ TBDM album.

#4. Miasma (2005). From a very base stance, Miasma isn’t all too different in attack from the debut. But having already done it once at full-length, and even more on the road, TBDM took huge steps in the polish and tightening of their identity. In particular, the man, the myth, the legend Trevor Strnad steps into his role as the intensifier of already heavy-handed riffs with rolled snarls, bestial lows, and off-the-rails shriek sermons. From the lift-off of “Flies” to the narrative froth of “Dave Goes to Hollywood” to the artistic crackling of “Spite Suicide,” not a moment rings through where Strnad isn’t threatening the mic with a barely held-together glottal assault. I’ve noted on later-era albums that the acquired talents provided an extra panache to an already solid formula. Miasma, in its rawer and younger character, succeeds not through being smart and tidy but by executing TBDM’s vision of melodic death metal to the scraped limits of their abilities at the time.

#3. Nightbringers (2017). If Miasma sold the young and tattered vision that TBDM had of At the Gates riffs with campy and horror-tinged vignettes, Nightbringers sells the wiser version of it kissed by the fresh virtuosity of then-fledgling shredmeister Brandon Ellis. No riff wastes any time launching songs into chunked harmony, barked fury, and blistering solo-land. And despite the number of Björriff-forward tunes that TBDM has cranked over the years, each song here lands with its own weighty identity. Part of that is through Ellis’ neoclassically-cranked excursions that carry as much energy as any melodeath groove (“Kings of the Nightworld,” “As Good as Dead”). And, as with any TBDM outing, Strnad rips maniacally through macabre narratives with a brutal ease that possesses a memorability all its own (“Of God and Serpent, of Spectre and Snake,” “Catacomb Hecatomb” in particular). Truth be told, I’ve also spent more time with this album than any other in the TBDM catalog. When I acquired it, I was on the road more than any other time in my life, and this collection of melodeath bangers was my go-to on a sunless morning commute,6 where my weary eyes needed adrenaline to persevere. Nightbringers gives a dose that doesn’t quit until the last note.

#2. Nocturnal (2007). As much as I (and all the others here) have said the name At the Gates or Björriff7—a fate inescapable from simply the opening classic chord crush of “Everything Went Black”—it’s really the sneaking, tremolo groove Morbid Angel influence that rolls my eyes back on these hardest-hitting early TBDM numbers. This hefty American influence on the hooky and nimble Swedish sound allows monsters like “What a Horrible Night to Have a Curse” and “Of Darkness Spawned” to land with equal parts thrashy tumble and melodic sting. The addition of budding kit talent Shannon Lucas (ex-All That Remains) provides all the machine gun and tom-chattering rhythmic foundation for TBDM to excel in this realization of their early potential. Melodeath doesn’t get much more addictive than this…

#1. Ritual (2011). Well, at least melodeath doesn’t get more addictive than this until Ritual. But the craving that results from this crowning moment isn’t one of riff-indulgence, of fretboard mystery (okay, it is all of those things). Ritual has an atmosphere. The simple placement of dramatic cello lines at the onset signals a moodiness that continues through tones more bass-loaded and balanced than other efforts. I hate to praise engineer Jason Suecof for his work here as he ruined plenty of albums around this time.8 But everything here just works—the cut-ins to Knight’s wobbling and unpredictable axe action, the many layers of Strnad crisscrossing and connecting at group chants and shouts, the low-end weight which even propels the elevated basics d-beat ripping of “Den of the Picquerist.” Continuing to alternate between the Björriff, a churning groove, and a growing hyper-melodic attitude (“The Window”), TBDM finds more ways to hook with the same tools they’ve always had while adding subtle new elements. It’s eerie to listen to “Blood in the Ink” these days, though. Between the added tension of discordant violin lines, further swirling string accompaniment, and its all too real theme of ritual suicide, the foreboding closer is easily one of the best songs The Black Dahlia Murder ever penned. Ritual fades away in the closing echo of “Suicide is the only way out.” And it hurts. It hurt then because that kind of mental trap exists, and it hurts now because art and reality often reflect each other in the scariest and worst of ways. That intersection can breed great art though, and Ritual will live that truth so long as metalheads have ears.

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