Few musical endeavors in the niche underground world of metal have achieved such a meteoric rise like Blackbraid. A solo project of Sgah’gahsowáh, who lives in the Adirondacks in upstate New York, featuring a sharp and focused approach to melodic black metal that has captured many ears, with a focus on indigenous subjects and nature in both lyrical substance, presentation, and overall ethos. Mind you, indigenous metal isn’t exactly a new thing – bands such as Nechochwen and Gyibaaw have been at it since the mid-2000s, while Pan-Amerikan Native Front and Ifernach have been around since 2015, being just a few accomplished examples. Each of these artists has their own defined approach and background; all providing a unique and important perspective, not to mention creating some absolutely fantastic music.
Steering back to Blackbraid, having released a single titled “Barefoot Ghost Dance on Blood Soaked Soil” in February of 2022, quickly followed by debut album Blackbraid I in August. Since, they’ve been a huge underground success story, garnering interest and praise to an impressive degree, all while noblely sticking to being a purely independent artist. Wasting no time, we have Blackbraid II under a year later, and many waited eagerly with anticipation – and some skepticism – on what may be in store.
If Blackbraid I was in one’s wheelhouse, then Blackbraid II will no doubt be the followup that was hoped for and beyond. If the band’s straightforward and precise take on minimal frills melodic black metal hasn’t quite made the grade in one’s eyes, this likely won’t cause a change of heart, though this scribe implores to at least give it a go if even remotely intrigued, as this is a step up in every conceivable facet. This record is overflowing with the familiar buzzsaw riffs and delectable melodies, emphasized by tightened song structures and soulful folk elements that combine to make Blackbraid II quite the accomplished package.
Entries such as the brisk and melody-laden “The Spirit Returns” provide a slick punchiness, conjuring plenty of head nodding moments amongst the somber tone. “The Wolf That Guides the Hunters Hand” emits plenty of Wolves in the Throne Room influence while donning its own nuance and biting rhythmic riffage. Meanwhile, “A Song of Death on Winds of Dawn” displays a significant tempo differential while spilling over with melodic leads ala Dissection, whilst combining the sensibilities of acts such as Panopticon. Lest we forget the melancholic flute section that provides the binding to an impressive composition. The longest and most ambitious track is “Moss Covered Bones on the Altar of the Moon” – a 13 minute epic of snarly blackened ferocity, weaved together with more immersive flutes and lead work tot add necessary balance to the ever present heaviness. There’s even a slab of blackened doom aesthetic on “Twilight Hymn of Ancient Blood” to offer an unexpected but much appreciated twist. The acoustic guitar work throughout Blackbraid II, as well as a few well-placed sobering instrumentals, add the right amount of earthly tranquility and calm to balance out the more aggressive overtures.
Sgah’gahsowáh, as well as session drummer and producer Neil Schneider, have combined to craft an album that brings the Blackbraid project to further heights of both notoriety and instrumental/compositional prowess. Everything that made the Blackbraid I special is enhanced and expanded upon in Blackbraid II. As previously mentioned, if Blackbraid wasn’t to one’s liking previously, there’s definitely more to digest on their sophomore effort that’s worth a second chance, but the core elements are unchanged. That’s a positive for yours truly, as their debut was one of the best and most out of nowhere releases of 2022 (#5 on my end of year list). Blackbraid no longer has the element of newness and surprise, and to them that’s no matter. Blackbraid II is an exquisite composition of resolute songwriting skill and focused black metal viciousness that is undeniably powerful and filled with passion.