Style: Progressive Metal, Post-metal, Black Metal, Power Metal (clean vocals)
Recommended for fans of: Alcest, Saor, Devin Townsend, Shores of Null
Country: Scotland
Release date: 2 October 2026

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Sgàile’s previous record, Traverse the Bealach, was the ultimate sleeper hit of 2024. A solo project of Tony Dunn (Cnoc an Tursa, ex-Falloch, ex-Saor)—a prominent member of the Scottish black metal scene—Sgàile, on paper, looks like the premise of a meme: a one-man post-metal band with touches of black metal. Yet, defying all expectations, Traverse the Bealach’s unique sound, which I could reductively describe as “happy post-metal”, made the album one of my absolute favorites of that year, and a staple of my rotation ever since.¹ A lot has changed since then, and Onwards to Embrace the Echo has become one of my most anticipated releases this year. But will Sgàile’s new opus go onwards to be embraced as another classic, or linger on as a faint echo of its predecessor? Only one way to find out.

Onwards to Embrace the Echo continues where Traverse the Bealach left off. Spinning up the record feels like pulling on your trusted old hiking boots, filling you with warm memories of past adventures and the promise of new ones. Tremolo picking, ferocious blast beats, and folky guitar leads lay the foundations for Dunn’s soaring, heartfelt vocals, immediately immersing you in the melancholic elation so characteristic of Sgàile’s music. Heavier sections are balanced by acoustic guitar-led atmospheric ones, rocking atop bass lines that lap gently like ocean waves, while soothing piano runs break surface tension, forming the sonic equivalent of a frothy crest. I’m delighted to say Onwards to Embrace the Echo traverses a soundscape just as majestic as any Sgàile has ever created.

Nevertheless, Sgàile was never afraid to descend into dark places, and Onwards to Embrace the Echo is no different. Dunn uses contrast more confidently than ever before, thanks mainly to the stronger emphasis on riff work. A great example would be the dramatic transition after the midpoint of “The Sunset Haze”, with a menacing riff that pulls the rug out from under you like mounting a ridge only to be greeted by a gathering storm.² Similarly, “Watch for the Widowmaker” kicks down the door with an opening that would be full-on black metal, if not for the lack of harsh vocals. Such moments contribute to the album’s powerful ebb and flow. Listening to Onwards to Embrace the Echo feels like navigating the trials and tribulations of life, tirelessly holding on to the light at the end of the tunnel, ever defiant—a feel captured perfectly by the gorgeous artwork of Anaïs Chareyre-Méjan.

As a critic, I’d say Onwards to Embrace the Echo is a slightly stronger record than Traverse the Bealach. More memorable riffs, richer instrumentation, and better flow, while upholding that distinctive character, all add up to a net improvement. As a fan, however, my first impression wasn’t so sure: the album feels more like a refinement of Sgàile’s sound than an evolution. Without the novelty factor, the new songs didn’t quite give me the same immediate high as the first dose. Onwards to Embrace the Echo is definitely a grower, though, with a few genuinely moving moments.

Despite warming up to Onwards to Embrace the Echo considerably, I still feel that Sgàile is pushing the limits of his core formula with this one. Those limits stem from the same issue that plagues all solo projects: one person can only do so much. While all performances are strong, some are rather functional. More grooves and drum fills, for example, could further reinforce the already mighty pull of the record. Another department with untapped potential is the vocals. Make no mistake, I love Dunn’s voice, and with clever hooks and deft layering, he certainly makes the most of it. Yet, he stays too much in his comfort zone, which dulls the edge of an otherwise excellent performance. This dulling effect is most apparent in the opening of “Onwards to Embrace the Echo”, where the music crosses well into europower territory, but without the vocal acrobatics one expects from the style.

A step in the right direction, I think, was inviting a guest vocalist on “Senses of an Angel”. Heike Langhans delivers a haunting performance, giving voice to Dunn’s daughter in a song dedicated to her and, by extension, to all neurodivergent people too often shunned by society.³ Ultimately, Onwards to Embrace the Echo succeeds by standing as a prime example of the whole being more than the sum of its parts. Dunn is a master of long-form composition. Except for the intro, every track is close to (or above) the nine-minute mark. However, thanks to beautiful arrangements and a remarkable sense for pacing, you’ll never feel the length.

Onwards to Embrace the Echo faced some hefty expectations, and it didn’t disappoint. Sgàile solidifies his status as a unique voice in metaldom, once again presenting a rewarding journey of lofty highs and surprising lows. Sgàile’s next challenge will be the same facing all artists of singular character: how to expand upon their concept without diluting what makes them stand out. Based on what I’ve heard so far, I’m firmly optimistic. In the meantime, let us celebrate Onwards to Embrace the Echo as another success in Tony Dunn’s catalogue.

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Recommended tracks: Vindicated, The Sunset Haze, Senses of an Angel
You may also like: Thy Catafalque, Hypno5e, Borknagar
Final verdict: 8/10

Related links: Bandcamp | Facebook | Instagram

Label: These Hands Melt

Sgàile is:
– Tony Dunn (everything)
With guests:
– Heike Langhans (vocals)
– Bonnie Dunn (vocals)
– Penny Dunn (vocals)

1. Not to mention, putting the Scottish Highlands near the very top of my bucket list—I know I’ll have the perfect soundtrack. ↩︎
2. Happened to me once in the Bavarian mountains. ’Twas fun… ↩︎
3. Dunn’s daughter is non-verbal autistic. “Senses of an Angel” is about her and their relationship, but it’s also meant to raise awareness of the condition. All proceeds from the song are donated to a local charity. ↩︎