ALBUM REVIEW: Black Pyre - Blessed Brân, Son Of The Sea

Now a vehicle for Ofnus singer Will Philpott rather than a going concern, Blessed Brân, Son of The Sea is the latest release and another example of the creativity that lurks within so many in the underground scene. 

Black Pyre formed in 2017 and became prominent in the UK Black Metal scene, creating a buzz with their rudimentary 2019 Forbidden Tomes EP, through to their Winter Solstice debut which really upped the quality. Demands on time and other projects saw them ease into hiatus, although Philpott has continued to make music under the Black Pyre banner. 

Drawing deep on Welsh heritage and mythology, Blessed Brân, Son of The Sea is an interesting album with some stirring highlights. The album explodes into life with opener Until I Perish, a repeated chilling riff and guttural vocals the highlights. It’s the title track that really increases the temperature, with a ferocious tempo, fiery drums and a classic mid-section move to Opeth style haunting atmospherics as the tale of Brân is played out. It’s a mythical story of the Welsh giant and king, and his battle with the Irishman Matholwch, following the mistreatment of Brân’s sister Branwen. 

The piano intro of Guinevere’s Solace creates atmosphere before the anticipated programmed blast beats arrive later. Even then, as we get stuck into the sprawl of Castle Dunnottar, the pace isn’t too fast, and in fact, it’s a much more controlled, less frenetic approach, with a dramatic and soulful solo piercing the song at the midway point. Of course, it soon descends into a more frenetic tempo, but the overall flow of the track isn’t unduly disturbed. Philpott’s black metal croak is very much in the Abbath camp, and if you like that style, combined with some eerie howling backing vocals, together with a gorgeously simple yet bewitching riff that adds a third dimension to the final part of the song. 

Unlike the band he currently fronts, Philpott hasn’t filled the album with lengthy and complex tracks. Instead, he’s provided a varied and exciting mix which keep the attention focused throughout. Arglwyddes Y Llyn (Lady of the Lake) explores the Arthurian legend in a compact four-minute track that uses synths, harmonies and ample melody to counter the relentless drumming and standard riff. It makes it’s point without the need to meander. 

That’s not to say that Black Pyre hasn’t ripped up the Black Metal blueprint. Far from it. The Nine Sorceresses of Annwwn continues the same theme and style as Arglwyddes Y Llyn, but in more frantic and explosive style. There’s an element of repetition here, with the synths somewhat repetitive, but the lead break is inspired. It’s not blisteringly technical or jaw-dropping, but it is instinctively at home in this majestic piece. It’s almost impossible to avoid nodding along, your heart rate likely to soar as the song progresses to the breakdown and change. It’s here that the Black Metal elements briefly flee before roaring back into view and earshot. There’s something rather enchanting about this album. 

The relaxed tempo of Voyage to Avalon which features towards the end of the album is pleasing, and whilst those with a more detailed knowledge of the more complex elements of this genre may find this too simplistic, for me it’s a well-crafted and impressive release. Closing the main album with a three-and-a-half-minute instrumental feels right. The inclusion of the demo version of Endless may be a bit superfluous but overall, Blessed Brân, Son of The Sea is another fine chapter in the journey of Black Pyre.

Blessed Brân, Son Of The Sea is released on 22nd November

Review by Hutch