Blackbraid has carved out a new niche for black metal with the release of Blackbraid III. The album, which came out on the 8th of August, is a continuation of his fusion of black metal that encompasses his Native American heritage. His latest release has ten tracks that include God of Black Blood, The Dying Breath of the Sacred Stag, and The Earth is Weeping.
Heavy Metal Facilitates Niche Storytelling
Blackbraid’s incredible success speaks to a much bigger trend across metal as a whole. Bands are niching down more than ever, with a laser focus on certain cultures or specific moments in history. Not only does this pave the way for more authenticity, but it also provides more identity and immersion.
Blackbraid may do this with Native American concepts, but other bands have been doing this for quite some time with a focus on different historical periods. Septicflesh’s album Titan puts the spotlight on ancient deities that are seen throughout Greek mythology. Ex Deo, however, focuses on Roman history, and Amon Amarth on the Viking era, showing what a large scope there is.
Niche mythology is a big theme as well, especially in podcasts. Myths and Legends, which is hosted by Jason Weiser and Carissa Weiser, covers ancient tales and famous times throughout history, which again pays homage to the era and its overall appeal.
In iGaming, even progressive slot machines like Age of the Gods: Maze Keeper Origins pay homage to ancient Greece, with sound effects that reflect the mystery and allure of the labyrinth once created to house the infamous Minotaur. Not only does this make the experience more immersive, but it also helps to give the game an identity.
As Blackbraid III utilises concepts like this to really drive home the narrative, it’s clear that Sgah’gahsowáh not only knows what he’s doing, but is also set out to blaze a new path for black metal, where other cultures, topics, and themes can be explored without losing the atmospheric presence of the music.
Blackbraid III is a Black Metal Masterpiece
With Blackbraid III, Sgah’gahsowáh hasn’t just created a new niche within the world of black metal. He’s also channeled the power of his ancestors, while spreading awareness of a culture that has never really been in the genre’s spotlight.
He’s proving single-handedly that black metal doesn’t have to be rooted within Norway, Sweden, or Finland, but instead, can cover Native American history, with more brutality than ever before. God of Black Blood, for example, starts with aggressive guttural vocals but then transcends into rhythmic guitar and steady drums, followed by a Native American flute.
This level of restraint not only translates to more power on the record, but it also helps to show the musical understanding that Sgah’gahsowáh has. With every album, his understanding is becoming more complex, and he’s able to channel different melodies without losing that cold, icy feel that black metal is synonymous with.
What the future holds for Blackbraid, we’re yet to know, but if Blackbraid IV is anything like Blackbraid III, Sgah’gahsowáh will soon be cementing his place amongst the black metal greats.
