This album will absolutely slay live!
With 'Everblack,' TBDM forge onward with their undeniably unique sound, and combine the best elements of previous albums to create an album that is an absolute blast.
It has been two years since 'Ritual,' an album which impressed with its catchy riffery (Moonlight Equilibrium), fun melody (Graverobber's Work), and brutal aesthetics (Carbonized in Cruciform, a personal favorite). It has been a few more years since Noctural, in which the boys demonstrated their ability to take romping slams and mini-breakdowns to breakneck speeds and navigate the twists and turns of melo-death songwriting.
'Everblack' combines these premier elements into a supremely enjoyable ride. The tracking is done superbly: every song is different than the one before it, and each brings something new to the table. Again, this is all done while maintaining the signature TDBM sound that has propelled them into stardom thus far.
One thing which stood out to me was the abundant use of tremolo riffs. These are used impressively to great effect across the album. In Hell is Where She Waits for Me and Phantom Limb Masturbation stand out in particular. Whether used to convey overwhelming dread, or deadly thrills, these riffs are a new and improved feature of TBDM shreddery.
The rollicking slams found on Into the Everblack, the melodic leads of Raped in Hatred by Vines of Thorn, the catchy chorus of Blood Mine. These elements swirl and co-mingle on the album's ten tracks-- an enjoyable, galloping, crushing ride through melo-death territory and beyond. The closer, Map of Scars, is immense. This album is a success, examined from any angle. And yes, it no doubt passes the cliched test: returning fans will eat it up like hotcakes, and newcomers will be wow to the point of losing their socks.
Highly recommended.
-L. U'cut
