Music / Reviews
Review: Blackbraid/Winterfylleth/Noctem, Fleece
Bringing black metal from sunny Valenicia, where they presumably don’t go out during daylight hours, Noctem certainly look the part – all windmilling hair, corpse paint and spiked wristbands. They sound pretty good too, with powerful, guttural vocals and a particularly handy, versatile guitarist, and quickly succeed in getting the crowd onside. Presumably, hailing from a country not noted for its contribution to the genre helps to insulate then form the often poisonous world of black metal fandom, and they’re suitably pleased – in a dark and evil kinda way – with the crowd response.
The British filling in this exotic black metal sandwich, Manchester’s Winterfylleth look like a bunch of middle aged blokes – which is exactly what they are as they’ve been doing this for a remarkable 20 years now and have nine albums under their straining collective belt. But whereas many bands find their niche and simply refine it, Winterfylleth’s songs have actually got better over the years and tracks from newie The Unyielding Season, unveiled for the first time live tonight, prove to be their best yet. Their USP is the extensive use of keyboards to provide texture, which is unusual for the genre, though, perhaps disappointingly, they’re careful to stay in their lane and not get too proggy along the way.
Essentially a solo project by a chap named Sgah’gahsowáh (“the witch hawk” – how metal is that?), Blackbraid are the first Native American metal band to play Bristol since Blackfoot back in the 1980s and the first Native American black metal band to play Bristol, well, ever. This is a seriously niche genre, after all. They engage in zero audience communication, just assaulting us with a 75-minute barrage of songs drawn from their first three, self-titled albums and new EP, Nocturnal Womb. The war paint might be a little different to what we’re used to, but any cultural barriers are swiftly demolished in the global brotherhood of metal.
Most of the atmospheric acoustic passages are cut for live performance and there’s little here for the WOMAD crowd, though Sgah’gahsowáh does play a rather fine Native American flute solo towards the end of the set, which succeeds in breaking up the full metal assault temporarily. Interestingly, the other members of Blackbraid, who are presumably hired hands even though they seem exceptionally well-drilled, are careful of keep out of his way except when stepping forward to take solos.
The Dying Breath of a Sacred Stag from Blackbraid III proves to be the set highlight, perfectly combining as it does ethnic heritage with metal aggression, which showcases Blackbraid at their best. Come back soon, Native American fellas, and play a bigger venue.
Read more: Bristol’s Month in Metal & Prog: April 2026
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