Out Now
Words by Greg Walker
A surprise release, when I saw Blackbraid II was out my excitement was overwhelming. Without having heard it I’d jumped on Bandcamp and ordered the CD, anticipating it would be a strong contender for album of 2023.
Last year’s Blackbraid I debut left an indelible mark on my heart, and I eagerly anticipated this listening session. At more than an hour’s runtime, this is certainly more comprehensive than the debut, a perfect melding of traditional Black Metal, Indigenous American folk music, and crisp modern production. A solo project of Native American Sgah’gahsowáh (The Witch Hawk), his sprinkling of traditional instrumentation is perfectly minimised for appreciation of its restrained presence, seamlessly intertwined to provide moments of emphasis and organic emotive spirit.
Harking from the isolated wilderness of the Adirondack Mountains region of Upstate New York, Sgah’gahsowáh’s compositions ooze themes stemming from his indigenous background with authenticity, stressing a spiritual connection to his peoples and ancient culture. It is much more moving than the usual run-of-the-mill Black Metal fare.
Immediately you’re struck by how finely polished this album is, uncharacteristically so for a Black Metal project, but typical of Blackbraid‘s releases thus far. The production is absolutely crystal clear, coming at you from all angles with an all-encompassing sound, yet you can hear the fret buzz in the acoustic refrains and feel the personality of his playing. His compositions have an established style within the parameters of Black Metal; if you’re familiar you just know on first listen that it’s Blackbraid.
Introducing us to the album via intro Autumnal Hearts Ablaze, the warmth of the crackling fire and traditional strains has Blackbraid II picking up right where the debut left us yearning for more. Clean acoustic guitars conjure slow-motion images of proud indigenous warriors galloping by on horseback, traditional garb flowing and trailing as natural as the winds on which they ride. This same melody launches us into opening track and single The Spirit Returns. Despite evoking a triumphant sensation, it’s immediately apparent that there will be no yielding on the ferocity.
There’s an unusual clarity in the abrasive vocal delivery, the enunciation of words clear despite the harsh Black Metal vocals and sparingly used growls. A big rock moment mid-track breaks up the barrage, but evolves back into the relentless persistence of the dirge; it is a welcome return. Even this early into Blackbraid II, Neil Schneider‘s drumming is a stand-out, incredible and a natural blend. A nice abrupt end and guitar fade take us out.
As with the debut, Sgah’gahsowáh’s lyrics are exquisite poetry, easily allowing dreamscapes to form clearly in your mind, leading you to empathise with the life of a warrior so connected to his lands, to appreciate “the sacred bind” as described in the third track The Wolf That Guides The Hunter’s Hand. Said wolf breaks the isolated guitar intro with an authoritative howl, perhaps mirroring the alpha status of the lofty climes Blackbraid should be elevated to with the strength of its discography. When the song finally kicks in it brought a smile to my face – this is what I signed up for, the beautiful flowing melodies behind breakneck tempos, interjected with moments that break up the pace a bit. An 80s style rock moment is brief but again relieves the assault, along with tastes of 90s Power Metal, and a Shades Of God era Paradise Lost riff seeing us out; overlapped with tapping that becomes almost orchestral through the extended fade out, it lingers just long enough for us to appreciate the emotive tug but not outstay it’s welcome. This track in particular is a real melding of styles that shouldn’t work together but really do, and the Black Metal pace holds it all together to create a stunningly effective piece.
An ethereal calm of instrumental Spells Of Moon And Earth elicits a tense soulful quiet, moving into the traditional drum and bells intro of Moss Covered Bones On The Altar Of The Moon before swelling into an anthemic steady drive. The lyrical description of making covenant with ancient spirits is again outlined delicately, and being interwoven with moments involving traditional indigenous instruments including a mournful flute, makes this first single a highlight.
Starting with a sound reminiscent of German thrash giants Kreator, A Song Of Death On Winds Of Dawn is a musical frenzy, a native flute the meditative eye of the storm that is instantly extinguished with the bombardment crashing back into play.
Blackbraid II is clearly defined in thirds – three sections of instrumental followed by two lyrical journeys. Celestial Passage divides the final third of the album with a wonderfully peaceful transition that takes us into the immense doomy Twilight Hymn Of Ancient Blood that again could be accused of being borrowed from the school of Paradise Lost. A blatantly Testament influenced thrash metal section mid-song (complete with speed metal lead break!) could be accused of being unoriginal, but only highlights the deliberate marriage of a multitude of styles to create what is ultimately a sound unique to the Blackbraid project.
Sadness And The Passage Of Time And Memory eases into existence, a long fulfilling build that culminates in a single acoustic guitar haunting us before the climax carries us out on a melancholy strain, gradually fading like a spirit shedding its skin.
Closing with Bathory‘s A Fine Day To Die that could’ve been tailor made for this project, the cover song isn’t necessary, and I feel the album’s journey would’ve been complete without the add-on, despite the curiosity of the cover and how perfectly Sgah’gahsowáh executes the musicianship. Having said this though, Blackbraid II left me breathless. As I said initially, Sgah’gahsowáh’s music is deeply effective, there are definitely emotional moments I caught myself close to tears, such is the effect of the connection he’s carefully shaped. I highly value music that draws out this deeper reaction, I hope I’ve adequately conveyed just how emotionally striking this material really is.
Sgah’gahsowáh is not reinventing his own wheel, he doesn’t need to, with his style and sound already fully fledged and well established now with Blackbraid II.
Based on the sheer quality of Blackbraid I, I expected this surprise release to be exceptional, and it is quite simply flawless in composition and execution. I wrote in a previous review that there is a beauty in Blackbraid’s savagery, a serenity in its chaos. Blackbraid II is no different, and is currently a frontrunner for my album of the year.
