Some artists don’t have to think too long about the title of a new album. Take Sgah’gahsowáh, the creator of the one-man black metal project Blackbraid. After Blackbraid I (2022) and Blackbraid II (2023), the title of the third album was practically predetermined. Right? Or are you still surprised by the title? It became… ta-da… Blackbraid III.
“Lurking on the edge of time, you’ll find me there. Waiting, creeping in the shadows of the dusk.” (God of Black Blood)
Blackbraid is probably no stranger by now, but for those who still need a bit of a crash course: Blackbraid is a Native American black metal solo project from the Adirondack Mountains located in the northeastern region of New York State. Blackbraid‘s black metal is a stark reflection of the isolation of the Adirondack wilderness. Or, to quote Sgah’gahsowáh’s 2021 words once again: “Indigenous black metal as untamed as the mountains from whence it came.” Loyal to its roots, the entire project focuses on Native American mythology. Sgah’gahsowáh writes all the music himself and performs everything, with the exception of the drums, which are played by his friend Neil Schneider. Schneider is also responsible for the recording, mixing, and mastering of the album. And just like on the previous album, guitarist Randy Storm (Spiritworld) is responsible for a solo (on Gold Of Black Blood). In addition, artist Adam Burke is responsible for the cover art, which once again captures the focus on nature and indigenous themes.
“The dream persists. A haze of memory cast adrift, to awaken the night.” (The Dying Breath of A Sacred Stag)
It probably won’t surprise you that Blackbraid III is once again being released entirely independently. Wolf Mountain Productions, a media development company specializing in helping independent artists, is supporting Sgah’gahsowáh in this endeavor. But otherwise, he prefers to call the shots. Or, as the text in the album’s promo emphasizes: “Blackbraid is an independent artist and is not contracted to or owned by any music label.”
“The soft kiss of rain the night, swelling mists of petrichor bloom. Softly bleeding memories beckon, resplendent in the light of the moon.” (Tears of the Dawn)
God of Black Blood opens with a chilling, excruciating scream and perhaps exudes the album’s darkest atmosphere. The vocals are imbued with grim aggression, while a flute dances through the track like an almost spiritual melody, contrasting with the rawness. Tears of the Dawn initially moves along in a more lingering, menacing manner, until Sgah’gahsowáh picks up the pace after about three and a half minutes, increasing the song’s intensity and ferocity. Towards the end, the more languid tempo returns, only to accelerate again at the very end, and ends with a fade out. There’s plenty of variation in the tempo, which only reinforces the composition’s menace.
The numerous instrumental, acoustic tracks also create a contrast on the album. Yet they are much more than just a moment of calm, a brief respite, a counterbalance to the intensity. They are an essential element in building the album’s atmosphere and mystique. They give the album that extra touch of depth and soul. Intro Dusk (Eulogy) immediately immerses you in the album’s mystical, dark ambiance. When Wardrums at Dawn on the Day of my Death erupts, the album’s heavy, dark tone is immediately set. The remaining three instrumental tracks on the album, The Earth is Weeping, Traversing the Forest of Eternal Dusk, and Like Wind Through the Reeds Making Waves Like Water, deepen the album’s authentic atmosphere. Chirping (of grasshoppers?), an acoustic guitar, and flute lead into Traversing the Forest of Eternal Dusk, while The Earth is Weeping stands out because it features a number of authentic sounds, such as a crackling (camp)fire and the nocturnal calls of various animals. These authentic accents emphasize the Native American character of Blackbraid III.
The album closes with Fleshbound, a cover of the Swedish black metal band Lord Belial. Blackbraid‘s tone is somewhat darker and deeper, which gives the song even more power. Other than that, the performance is entirely true to the original. Does that add value or is it redundant? That, too, is entirely up to you to decide.
“Now the voice of the wind whispers softly. A eulogy in the silence of the dawn. And as my final visions become me, the eagles shall rise to carry me home.” (Wardrums at Dawn on the Day of my Death)
Blackbraid III seamlessly builds on the DNA of the previous albums, while simultaneously exuding a heavier, darker atmosphere. The compositions also seem to rely even more emphatically on the power and melody of the guitar. An album where acoustic, instrumental layers not only provide contrast and breathing space but also amplify the impact of the heavier songs. Does that resonate with you? Then this third Blackbraid album delivers not only searing, raw power but also intriguing depth. A fascinating album.
Score:
88/100
Label:
Eigen beheer, 2025
Tracklisting:
- Dusk (Eulogy)
- Wardrums at Dawn on the Day of my Death
- The Dying Breath of a Sacred Stag
- The Earth is Weeping
- God of Black Blood
- Traversing the Forest of Eternal Dusk
- Tears of the Dawn
- Like Wind Through The Reeds Making Waves Like Water
- And He Became the Burning Stars…
- Fleshbound
Line-up:
- Sgah’gahsowáh – Guitar, bass, flute, vocals
- Neil Schneider – Drums
Links: