Monthly Metal Mixtape: August 2022

Blackbraid – Blackbraid I (2022, Self-Released)

It’s refreshing to see a genre – atmospheric black metal – that constantly preaches a connection with nature cloaked in almost spiritual terms, being created by an Indigenous artist. Blackbraid is entirely the work of Sgah'gahsowáh, and inspired by the mountains and “depths of the Adirondack wilderness” (woo, Upstate New York represent!). It’s easy to couch Blackbraid in Cascadian vibes – hell, the opening lines of “The River of Time Flows Through Me” are “Deep in the heart of a forgotten hemlock forest” – but regardless of all those atmo-black tropes, Sgah'gahsowáh crafts some exquisite soundscapes, especially if you’re like me and getting ready for those autumn or winter feels.

And we definitely get those mood pieces. “As the Creek Flows Softly By” and “Warm Wind Whispering Softly Through Hemlock at Dusk” are both acoustic, atmospheric interludes. With only six tracks total, it is a bit of a gamble having two be pure instrumental interludes, but remember, we’re going for the feel of the wilderness here and both tracks, with their soothing use of flute over some acoustic guitar (the former) or the acoustic/electric guitar layering (the latter) are legit gorgeous. They definitely evoke the feel of the deep woods just as much as the ravaging black metal does. And a dig through the lyrics certainly reinforces how much we’re hiking through the dark forests here. I appreciate how blatantly Blackbraid adhere to their lyrical themes of choice. The adorations to his Adirondack homeland and Indigenous spirituality are composed with a deft touch, and the bluntness of “Barefoot Ghost Dance on Bloodsoaked Soil” will drive the anti-CRT crowd into a tizzy.

Opener “The River of Time Flows Through Me” is a galloper, but about halfway through we get a nice melodic breather between the pummeling blast beats, tremolo riffs that blaze with the fury of a northern blizzard, and a nice, blackened rasp. “Sacandaga” slides some flutes into the depth of a barrage of riffing, and I definitely get some Wolves in the Throne Room vibes, especially in the way they make moments build throughout the song, reaching an epic summit smack dab in the middle of the tune. “Barefoot Ghost Dance on Bloodsoaked Soil” hits hard, especially if you dive into the lyrics, and you can hear where comparisons to Uada or Mgła arise, especially in the way Sgah'gahsowáh’s emotional vocals sound like they are bursting forth from the frenzied riffs. Just as in the opener, the moment of reflection here is appreciated. “Prying Open the Jaws of Eternity” starts with a clear doom sound, with the pace slowed down and Sgah'gahsowáh switching his blackened groan for a more defined death/doom growl. With a ten minute runtime, we can cover the gamut of sounds and about halfway through when we smash down on the acceleration it feels natural, like we’ve been building to this moment, and when we slow down to a funeral crawl again to close everything out it feels like a final exhalation. This is Blackbraid I, so that hints at more to come, and I’m excited to see what a follow-up looks like when the opening act was this majestic. – SteveO

Sigh – Shiki (2022, Peaceville Records)

As far as I’m concerned, avant-garde black metal is shaping up to be 2022’s genre of the year. There has been such an incredible wave of creative releases pushing the boundaries of black metal far beyond the pale in ways that are endlessly entertaining, harrowing, and poignant. Adding to this pile of art is long-running weirdo metal band Sigh with their latest release Shiki. For almost thirty years, front-man and prime creative force Mirai Kawashima has delivered on the avant-garde black metal tag with a sonic adventurousness few artists could match. Melodic black metal, doom metal, symphonic metal, thrash metal, heavy metal, progressive metal, psychedelic rock, Japanese folk music, and jazz fusion are all components of the almost unmistakable sound of Sigh. These components have always fluctuated in varying degrees from release to release. Shiki is at once an iteration on the modern Sigh formula, a new way of expressing these components, and a personal reflection upon all the decades of sonic experimentation this band has wrought.

The album concept is one of “four seasons.” Mirai himself states he is living the autumn of his life “with winter coming soon.” This somber reflection upon time expresses itself in a somewhat less playful than usual sound, but one that still remains playful regardless. Each song is surprising, progressive in structure, winding, but has an air of restraint and intentionality. After a spooky intro, the striking crushing doomy heavy metal opener of “Kuroi Kage” starts the album with a slower and heavier bent than any opener Sigh has had in years. “Shoujahitsumetsu” floors with a blistering melodic black metal assault and a killer guitar solo. “Satsui - Geshi No Ato” is a fusion of psychedelic rock ripped straight out of the Turkish Anatolian side of things with operatic symphonic melodic black metal stacked with sick riffs that closes with a psychedelic synth odyssey straight off of Imaginary Sonicscape. The galloping thrash, soaring melodic heavy metal solo, quirky operatic vocals, and psychedelic keyboard freakouts on “Shouku” place the song as firmly recalling Scenes From Hell. Penultimate track “Mayonaka No Kaii” closes the album down with yet more psychedelics, huge anthemic vocal delivery, some mournful melodies, and trading off guitar solos with keyboard solos. It all winds down with the meditative instrumental psychedelic drone journey of “Touji No Asa.”

It may seem counterintuitive with all the metal, but 70s psychedelic rock keyboards and effects are the glue that hold Sigh albums together. If you’ve never listened to a Sigh album, now’s the time to start, and this isn’t a bad place to do so. Great production and some of the best drumming ever heard on a Sigh album are also present. It’s all at once a fresh entry in their discography and a thesis statement for their sound. – Mike Tri