It is no secret that most of us listen to music as a means to escape the reality of our day-to-day lives via a good song, or, even better, a great album. Dutch symphonic metal band BLACKBRIAR have taken this idea of musical escapism to new heights with the way they craft their music, and the Gothic/Victorian stories they tell through their lyrics. Every one of their songs is like a twisted fairytale into itself, and this summer we were gifted ten new such tales to revel in as their new album, “A Thousand Little Deaths,” was released on August 22nd, 2025, via Nuclear Blast.
I have been following the band since their first few EPs – “Fractured Fairytales” (2017) and “We’d Rather Burn” (2018) – and always wondered how their sound would evolve and refine, and this album offers an answer to that question. As time went by and the more music they released, their confidence not only in their skills but mostly in their sound grew and solidified, which made them bolder in their approach and in the stories they set to music. Slowly but steadily, BLACKBRIAR became one of symphonic metal’s best kept secrets, but they started to gather some traction and momentum with the well-crafted and diverse “A Dark Euphony” (2023), and I am sure this new release will see their star rising higher on the metal firmament. Their blend of symphonic metal with eerier melodies and Gothic sensibilities is what set them apart on an over saturated scene, and “A Thousand Little Deaths” offers a welcome escape into their lavish musical universe.
BLACKBRIAR is not by any means a bombastic band, as their soundscape is a nuanced and macabre one that lets the stories take center stage, elevated by Zora Cock’s hauntingly beautiful voice. Reason why, after the Victorian-inspired single “Floriography” and the darkly ominous “I Buried Us,” my interest in their third full-length was piqued and the subsequent releases only further whetted my appetite. Where the mysterious and enchanting “Floriography” is about the practice of sending messages through the language of flowers wonderfully carried by powerful guitars and delicate orchestrations, “I Buried Us” is a break-up song like you’ve never heard, a sorrowful goodbye to a love that had run its course set on a backbone of crushing guitars, soaring orchestral arrangements, and highly emotional vocals. On the other hand, the spooky and mournful “The Fossilized Widow” tells the tale of a lady trapped in time, desperately holding on to a long-lost love, a woeful narrative that rides high on sharp guitars and dramatic orchestrations. Somehow, this tale reminds me of Miss Havisham from Charles Dickens’ 1861 novel “Great Expectations.”
There’s something incredibly intriguing about their music and lyrical poetry, and such singles like the up-tempo “A Last Sigh of Bliss,” the moody and ominous “Bluebeard’s Chamber,” or the soaring “Harpy” show different sides of their macabre aesthetic. As such, “A Last Sigh of Bliss” may have one of the most charming and carefree choruses on this album as well as a wistful, almost euphoric ambiance countered by heavy guitars and thundering drums but the story is a tragic romance between someone living and a ghost; the fatalistic affair detailed in “Bluebeard’s Chamber” is balanced by a delicate chorus, more heavy guitars, pounding drums, and a great crescendo to the final reprise of the chorus; the mythological-inspired “Harpy” somehow echoes “Selkie” from their previous album, with eerie vocals, a chilling atmosphere, and vivid storytelling wrapped in folk melodies, and an upbeat chorus. I don’t know where they get their inspiration for such tales, but I hope their creativity will not run dry any time soon.
Though not as adventurous and quirky as its predecessor, “A Thousand Little Deaths” still fascinates with sweeping symphonic passages, darker melodies, memorable choruses, and a riff-heavy base on top of which the vocals can expand and soar. A track like “My Lonely Crusade” perfectly exemplifies how prominent the guitars are on this album as here they stand on equal footing with the vocals, while some piano melodies uplift the delicate ambiance. Elsewhere, “The Hermit and the Lover” is a symphonic metal delight grounded by powerful guitars and a solid rhythm section as the vocals dance atop the instrumentals; the upbeat “Green Light Across the Bay” has the best chorus on this whole album, while the mix of folk melodies with heavy riffs makes it a standout. Both guitarists – Bart Winters and Robin Koezen – do a splendid job on this album, gently shifting it towards a more metalized sound that neatly juxtaposes the elegant melodies. In the same vein, Zora Cock’s vocals are less acrobatic than before and more streamlined which, coupled with the solid instrumental base, makes the album more cohesive and free flowing.
All-in-all, BLACKBRIAR have levelled up superbly as “A Thousand Little Deaths” is consistent with what came before in terms of tone, production, and overall aesthetic and ambiance, while showcasing a more mature and sophisticated side of the band. This is what happens when a band that relentlessly pursues a certain sound and vision develops and refines their music. As it always happens, there is a tradeoff to make the songs appeal to a larger audience, and while BLACKBRIAR dialed down on their eccentricity and quirkiness, they never compromised on the Gothic aura and nuanced storytelling that is the beating heart of their sonic universe. This, in turn, makes “A Thousand Little Deaths” feel more romantic and elegant and less ominous and disquieting, but still a thrilling and enchanting listening experience nonetheless.
Written by Andrea Crow
Tracklist
01. Bluebeard’s Chamber
02. The Hermit and the Lover
03. The Fossilized Widow
04. My Lonely Crusade
05. Floriography
06. The Catastrophe That is Us
07. A Last Sigh of Bliss
08. Green Light Across the Bay
09. I Buried Us
10. Harpy
Lineup
Zora Cock – Vocals
René Boxem – Drums
Bart Winters – Guitars
Robin Koezen – Guitars
Siebe Sol Sijpkens – Bass
Ruben Wijga – Keys
Label
Nuclear Blast
