The Black Dahlia Murder are a metal band from Waterford, Michigan, formed in 2000. Their band name is derived from the unsolved murder of Elizabeth Short, often referred to as; Black Dahlia, Black Dahlia Murder or BDM.

Current Line-Up:
Trevor Strnad – lead vocals (2000–present)
Brian Eschbach – guitar, (2001–present)
Ryan Knight – guitar (2008–present) (ex-Arsis)
Ryan Williams – bass guitar (2005–present)
Shannon Lucas – drums, percussion (2007–present) (ex-All That Remains)

The Black Dahlia Murder gained their final band line-up in January 2001 and released their first demo entitled What a Horrible Night to Have a Curse, and a four-track EP, A Cold-Blooded Epitaph, the latter of which the group released on its own Lovelost Records. After appearing in concerts such as the Milwaukee Metal Fest, The Black Dahlia Murder signed to Metal Blade Records in 2003.

The band played in Ozzfest 2005 and also participated in the Sounds of the Underground tour in 2006, which encompasses both the United States and Canada. They also played at Wacken Open Air in 2007.

Current bassist Bart Williams left his former band, Detroit’s Today I Wait, to tour with the Black Dahlia Murder. After touring with the band on their co-headlining gig with Throwdown and their European dates with Liar, he joined the group full-time, replacing former bassist David Lock. Frontman Trevor Strnad said that Lock was fired for incompetency. Williams was one of two engineers (the other being Walls of Jericho’s Mike Hasty) on the band’s first full-length album, Unhallowed.

The band’s second album Miasma peaked at #118 on the Billboard 200. After touring for the Miasma record drummer Zach Gibson left the band leading to Pierre Langlois joining. Zach Gibson went on to join Abigail Williams. Recently, Pierre Langlois left the band for a more secure lifestyle, and the band has finished their search for a replacement drummer and found former All That Remains drummer, Shannon Lucas.

Their third album, entitled Nocturnal, was released on September 18, 2007. The album debuted at #72 on the Billboard 200.

The Black Dahlia Murder announced on their MySpace that they were going on a U.S. tour with Cannibal Corpse to promote their new album Nocturnal and celebrate the 25 years that Metal Blade Records has been in business. They were joined by label-mates The Red Chord, Aeon, The Absence, and Goatwhore.

In January/February 2008, the band embarked on a U.S. headlining tour with 3 Inches of Blood, Hate Eternal, and Decrepit Birth, followed by another alongside Brain Drill and Animosity. They were on Hot Topic’s “Summer Slaughter Tour” with Kataklysm, Cryptopsy, Vader, Whitechapel, and Despised Icon.

Recently the band has announced that long time lead guitarist John K has left the band and has been replaced by Ryan Knight.

In May 2009, The Black Dahlia Murder released their first DVD, “Majesty”. The DVD contains a documentary and live footage from the Summer Slaughter tour and their tour supporting Children of Bodom in late 2008. The DVD also contains all of their music videos and behind the scenes footage.[6]

The Black Dahlia Murder released Deflorate on September 15, 2009 via Metal Blade Records. In addition to hitting the #43 position in Billboard’s Top 200 charts, the record came in at #5 on Billboard’s Independent Albums chart, #4 on Billboard’s Top Hard Music Albums chart, and #50 on HITS Top 50 Albums chart. They toured with Children of Bodom and Skeletonwitch in support of the album.

On July 7, 2009, their song “What a Horrible Night to Have a Curse” was made available as downloadable content for Rock Band.

The band released its newest album “Ritual” on June 21st 2011, and headlined the 2011 summer slaughter tour with whitechapel and dying fetus.

 

Mankind’s sense for creativity probably manifests best in the sheer unlimited ways of torturing, mutilating, and killing each other. Successfully applying this atrocious inventiveness to their perversely precise sonic executions, “European death metal butchers” ABORTED with members hailing from Belgium, France & UK have refined and re-defined the tools of their trade on their seventh full-length “Global Flatline” to murder the listener with unimaginably gruesome, shockingly diverse brutality.   After the already much-lauded Century Media debut “Slaughter & Apparatus: A Methodical Overture” their newest effort turns out to be ABORTED’s most meticulous, ferocious and variable to date. Whether they pummel the listener with relentless blastbeats, fester in your veins with infectious grooves, cut arteries utilizing sadistically shredding leads and gurgle, snarl with inhuman violence, these guys make sure they leave no witnesses to their evil deeds. “Global Flatline” impresses with a more raw and extreme, effective songwriting emphasizing dynamics and darker, refreshingly modern elements that broaden the extremely lethal death metal the band has been known and feared for since its conception in 1995.   Combining the band’s undeniable live energy with a powerhouse production from Eric Rachel (The Red Chord, The Black Dahlia Murder, God Forbid etc.) and a “fuck you' rock'n roll” approach to the overly edited, sterile sounding death metal records of today, ABORTED succeed in retaining their vicious roots while evolving in terms of melody, musical virtuosity and vigor. Taking the album’s lyrical concept of true crime, serial killer topics quite literally, Colin Marks’ frighteningly realistic and brutal artwork for “Strychnine.213” reinforces the notion that ABORTED have doubtlessly developed into extreme metal’s most promising new breed.   Having toured with Behemoth, Kataklysm, Cryptopsy or lately Heaven Shall Burn, sharing festival stages with Hatebreed, Napalm Death, Cannibal Corpse, the Belgian quintet is highly respected for its intense live shows. In ABORTED’s degenerated worldview murder is fun and you will be delighted to be killed by their new aural toxin…

Having delivered five killer albums boasting some of the most potent, technical and abrasive metal unleashed over the last decade, it would be easy for Revocation to sit back and rest upon their laurels. However, with their constant drive to push their sound ever forward and refusal to compromise their integrity, this could never be the case – and Great Is Our Sin is their most dynamic, boundary-pushing and weighty release to date.   Front-man Dave Davidson commented about the first track: “‘Communion’ is the fastest song we’ve recorded to date, and while it’s blistering in terms of speed, there are also some proggy elements present to add contrast to the aggression.”   When it came time for the follow-up to 2014′s Deathless, the quartet had their work cut out for them, and their response to the challenge is a record that grabs you by the throat and refuses to let go. Never forcing anything, the songs that would comprise Great Is Our Sin came together organically, and while the members being spread all around North America would have been an impediment to some,Revocation drew strength from it.   Reuniting with producer Zeuss (Hatebreed, Bleeding Through), who also helmed Deathless and 2012′s Teratogenesis EP, the record packs the requisite punch, yet retains the organic feel with which it was conceived. Known for their technical prowess, the band remained dedicated to upping the ante without ever losing sight of the importance of good songwriting.   While the songs come together to make for a cohesive record that is engaging from front to back, they are further united by the lyrical concept penned by Davidson. The title itself appropriated from Charles Darwin’s quote: “If the misery of the poor be caused not by the laws of nature, but by our institutions, great is our sin”, Davidson went about building a theme that was not only fittingly expansive, but also had real resonance with regard to contemporary society. “The concept revolves around the folly of man throughout the ages. Some themes come from historical references that are hundreds of years old, yet sadly these themes are still very relevant today due to mankind’s refusal to learn from the lessons history has taught us, time and time again.”   Regardless of the state of the world, nothing is going to slow Revocation down any time soon. Whilst the lineup has changed over the ten years the band has been in existence, Davidson’s passion has never waned, and they are arguably sounding better than ever as they look toward the future. “We can’t wait to bring these songs out on the road and perform them for different audiences all over the world. ‘Great Is Our Sin‘ is a new chapter for the band, and collectively we feel that it is our defining record to date.”     Revocation history: In 2006, lifelong friends Dave Davidson, Anthony Buda, and Phil Dubois-Coyne formed the core of what would become Revocation. The trio gigged throughout New England, and recorded a three song demo, "Summon the Spawn." The guys would spend the next few years writing and performing new songs as often as possible, before finally tracking their debut album in 2008.   "Empire of the Obscene" was recorded with Pete Rutcho at Damage Studios in 2008, and made a huge splash upon release. Their brand of technically-minded thrash offered a new take on thrash, and a much more energetic and vital approach to the technical death metal. The debut lead to the band signing with Relapse Records. By early 2009, the band had already re-entered Damage Studios to record "Existence is Futile."   The release of their label debut was met with critical acclaim and truly began to spread their name throughout metal on a global scale. Magazines including SPIN and Decibel heaped praise on the band, and Dave Davidson became an official Jackson Guitars endorser. In 2010, guitarist Dan Gargiuolo joined the ranks as a touring second guitarist, just in time for the band to perform in Europe, Japan, the US and Canada. In total they would play in 13 countries and over 150 shows.   During the fall and winter of 2010, the band recorded "Chaos of Forms" with Rutcho at Damage Studios. The album vaulted the band to new heights, and afforded them even greater touring opportunities. Revocation also appeared on the Relapse Records label showcase, presented by Scion A/V in February 2012. The year also saw the addition of bassist Brett Bamberger, along with the recording of the "Teratogenesis" EP for Scion A/V.   In February of 2013, Revocation recorded their fourth album with producer Pete Rutcho. Their self-titled album was released in August 2013, and was followed by a slot on the Summer Slaughter Tour 2013.