Blackbraid III Album: Singles Review
🔥 Key Takeaways 🔥
Blackbraid returns with two punishing yet melodic singles! “The Dying Breath of a Sacred Stag” and “Wardrums at Dawn on the Day of My Death”, both steeped in atmospheric fury and indigenous identity.
These tracks preview the upcoming full-length, Blackbraid III, releasing August 8, 2025, and showcase a more dynamic, technically evolved sound.
Following our exclusive interview with Blackbraid, these singles reinforce his unique space in the black metal sphere—authentic, defiant, and deeply rooted.
The Next Chapter Begins: Blackbraid’s Flame Still Burns
When we last spoke with Sgah’gahsowáh of Blackbraid, he told us that his music was about reclaiming identity and channeling rage through beauty. That conversation left a mark and with the release of two new singles from the upcoming Blackbraid III, it’s clear he’s only sharpening the blade.
With “The Dying Breath of a Sacred Stag” and “Wardrums at Dawn on the Day of My Death,” Sgah’gahsowáh once again proves why he stands at the vanguard of indigenous black metal, creating a sound both reverent and raging.
Set to be fully unleashed on August 8, 2025, Blackbraid III is shaping up to be a declaration of evolution. These singles are proper fu*king previews of exceptionalism.
“The Dying Breath of a Sacred Stag” – Review
Right out of the gate, “The Dying Breath of a Sacred Stag” erupts with a wall of fury and cavernous drumming, but it’s more dynamic then I was expecting. There’s a grandeur to this track that separates it from tradition. The production is crisp but not sterile, as though Sgah’gahsowáh was invoking the very breath of ancient forests and frozen winds while maintaining clarity in the overall sound.
The song rides on a mid-paced, almost tribal momentum, with each riff twisting like gnarled roots through frostbitten soil. There’s a restrained use of melody here though, a melancholic, almost Celtic tonal quality hiding beneath the surface. The guitars harmonise in layered, droning motifs that feel simultaneously wounded and defiant.
At around the 4:00 mark, Blackbraid pulls the tempo back into a mournful interlude, an emotional breath that sets the stage for the final push. His harsh vocals erupt again, not just as a scream, but as a curse, as if every syllable is carved with intent. There’s no filler here, it’s a tight package of blast beats, storytelling but with excellent execution.
Though lyrics haven’t been fully released, the title itself “The Dying Breath of a Sacred Stag” evokes death not as defeat, but as sacrifice. In many indigenous traditions, the stag represents power, sovereignty, and the bridge between worlds. This track feels like an elegy to something bigger than the self, a eulogy for the natural world and ancestral memory.
For me it hits all the marks, lo-fi aesthetics, tremolo aggression, and dynamic structure.
“Wardrums at Dawn on the Day of My Death” – Review
If “Sacred Stag” was sorrowful, then “Wardrums at Dawn on the Day of My Death” is vengeful. This is where Blackbraid goes full berserker, but with a craftsman’s finesse. The blast beats are more punishing here, and the riffs feel less like a fog and more like a bladed assault.
What stands out most in this track is the dizzying tempo and rhythmic clarity. The drumming is relentless but never overly chaotic, grounded in a clear progression that gives the song weight. Riffs shift rapidly but never lose narrative, there’s cohesion in the storm.
Midway through, there’s a harrowing, high-pitched melodic lead layered over the blast pattern, like a war horn echoing through a canyon of screams. The leadwork is more pronounced, almost reminiscent of early Dissection or Sacramentum, but without the over-the-top theatrics.
The vocal performance is notably more venomous here. Sgah’gahsowáh leans into a higher register that’s rawer, more desperate. It sounds like a dying breath becoming a war cry. Again, without the full lyrics, interpretation leans into the symbolism of the title. “Wardrums at Dawn on the Day of My Death” is cinematic in its phrasing. It conjures imagery of final battles, of accepting death with purpose. There’s something ritualistic about it, a warrior walking into the fire because he knows it must be done.
It’s death as transformation.
Production and Artistic Growth
Both singles show a leap in production clarity without compromising rawness. There’s a maturity here that suggests Blackbraid III will be his most polished, and punishing, record to date.
The mastering gives room for every instrument. The bass rumbles beneath without vanishing, the drums cut cleanly, and the guitar tones are dialed into a rich, frosty buzz. It’s high fidelity that respects the lo-fi spirit of black metal.
From a compositional standpoint, Blackbraid has clearly pushed his own envelope. These aren’t just long songs for the sake of black metal orthodoxy. Each shift in tempo, texture, and tonality serves a clear narrative arc.
It’s immersive, emotional, and meticulously crafted. That’s not always easy to say in this genre.
Cultural Weight and Identity
What continues to set Blackbraid apart is not just the quality of his music, but the cultural weight behind it. These songs, they come from lived history and identity. His work channels the violence of colonialism, the silence of nature, and the rage of erasure. But it also celebrates survival.
In a world where black metal often leans on nihilism, Blackbraid offers something different: resistance through beauty, pain, and purpose. Our earlier interview with Blackbraid explored this philosophy more, and it’s thrilling to see that ethos evolve into sound with even more conviction.
What’s Next: Blackbraid III Drops August 8, 2025
Mark your calendars. If these singles are any indication, Blackbraid III will not only meet expectations, it might shatter them. Both tracks suggest a more expansive, technically daring record. With the level of precision and emotional depth shown in just these two songs, it’s clear Blackbraid is still ascending.
Stay tuned for our full album review in August. Until then, put on your headphones, walk into the forest, and let these singles guide you through shadow and flame.
Written by: Chort the Crop Infestor
“Hi, I’m Chort I infest crops and listen to Black Metal!”
