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SIGH

Experimental/Post Metal • Japan


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Sigh picture
Sigh biography
Formed in 1989 in Tokyo, Japan - Still active as of 2017

SIGH is one of the first black metal bands from Japan, but they were not content to be simply that unique - they quickly began to innovate with symphonic keyboards and atmospherics before eventually progressing their blend of metal to psychedelic new dementions, pun intended. Sigh's humble goal of creating some of the most evocative horror music ever recorded could only be accomplished through progressive means, something they continue to do with each release. Originally, the band consisted of Mirai Kawashima(bass, keyboards, vocals), Satoshi Fujinami(guitars) and a little-known drummer named Kazuki who has ended his music career since leaving SIGH. After the first demo, "Desolation," a primitive tribute to earlier metal like Black Sabbath and Celtic Frost with some high ambition considering the quality of the four-track recording, Kazuki left the band and Mirai and Satoshi continued as a two-piece before hiring a full-time guitarist - Shinichi Ishikawa, so Satoshi could focus on drums. This is SIGH's current known lineup, although it is said to have recently hired a full-time bassist so that Mirai can concentrate on his virtuoso keyboard playing in the band, a strategy they adopted on their last tour. From their early demos (which feature a lot of material that has been re-recorded with more complex, rich arrangements than heard on their powerhouse black-metal originals), Sigh has continued to expand their ambition, drawing in the influences of numerous sources, from Ennio Morricone to John Zorn, all manner of jazz, classical and ambient innovation that they've successfully merged with their great blend of metal. It was clear from the band's first full-length that they had ideas for evocative, chilling sound compositions that included as many beautiful symphonic melodies as they did thrashing guitar riffs, and Mirai's evolving obsession with actual vintage synthesizers (not just their sound-alikes) has allowed the band to begin to write music as likely to give you an acid flashback as a nightmare.
As far as progressive fans are concerned, the point at which SIGH becomes most interesting is with the release of the "Ghastly Funeral Theatre" EP, a short concept album based around Japanese occultism and incorporating a heavy amount of folk melodies and acoustic passages into the twenty minute running time. This would be a mere predecessor to "Hail Horror Hail," a true psychedelic masterpiece ...
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SIGH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SIGH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.05 | 23 ratings
Scorn Defeat
1993
3.71 | 25 ratings
Infidel Art
1995
4.16 | 40 ratings
Hail Horror Hail
1997
3.95 | 35 ratings
Scenario IV: Dread Dreams
1999
4.30 | 134 ratings
Imaginary Sonicscape
2001
3.78 | 41 ratings
Gallows Gallery
2005
3.96 | 34 ratings
Hangman's Hymn - Musikalische Exequien
2007
4.04 | 34 ratings
Scenes From Hell
2010
3.95 | 55 ratings
In Somniphobia
2012
3.81 | 17 ratings
Graveward
2015
3.92 | 10 ratings
Heir To Despair
2018

SIGH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.60 | 5 ratings
The Eastern Force of Evil: Live 92' - 96'
1997

SIGH Videos (DVD, Blu-ray, VHS etc)

SIGH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SIGH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.09 | 3 ratings
Desolation
1990
2.18 | 3 ratings
Tragedies
1990
3.67 | 3 ratings
Requiem For The Fools
1992
4.00 | 2 ratings
Sigh / Kawir split 7
1994
3.00 | 2 ratings
To Hell and Back
1995
3.19 | 8 ratings
Ghastly Funeral Theatre
1997
3.00 | 1 ratings
Sigh / Necrophagia split
2003
3.00 | 1 ratings
Abigail / Sigh - Evilized Japan split
2004
3.50 | 2 ratings
A Tribute to Venom
2008
4.00 | 3 ratings
The Curse Of Izanagi
2010

SIGH Reviews


Showing last 10 reviews only
 Hangman's Hymn - Musikalische Exequien by SIGH album cover Studio Album, 2007
3.96 | 34 ratings

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Hangman's Hymn - Musikalische Exequien
Sigh Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Hangman's Hymn: Musikalische Exequien" is the 7th full-length studio album by Japanese progressive/experimental metal act Sigh. The album was released through The End Records in June 2007. It´s the successor to "Gallows Gallery" from 2005 and not surprisingly the two albums sound very little alike (which would actually have been unusual as most Sigh are pretty different in style and sound).

"Gallows Gallery (2005)" saw Sigh play a twisted form of power/heavy metal with very few nods towards their black metal past, but "Hangman's Hymn: Musikalische Exequien" brings back the raw black metal vocal style and a slightly harder edged basic sound. Of course Sigh haven´t stagnated or gone back to the roots, as they are an ever changing and developing act, and this time around they are opted to challenge themselves by making a symphonic tinged black metal album. They´ve used symphonic elements before, and it´s been obvious on preceding releases too that lead vocalist/keyboard player Mirai Kawashima is a classically trained musician/composer, but on "Hangman's Hymn: Musikalische Exequien", Sigh go all in on the symphonic concept.

You would think with a band covering as much musical ground as Sigh manage to do, that they would fail once in a while, but listening to "Hangman's Hymn: Musikalische Exequien" it´s abundantly clear that it´s not this time around. Sigh pull off playing symphonic black metal with the same ease as they have managed to play raw and savage old school black metal, avant garde/progressive black metal, psychadelic progressive black metal, and power/heavy metal on their preceding releases.

The basis of Sigh´s sound is still guitars, bass, drums, and snarling blackened vocals, but "Hangman's Hymn: Musikalische Exequien" is loaded with symphonic orchestral keyboard arrangements and choirs, which work well with the raw backing. "Hangman's Hymn: Musikalische Exequien" is a concept release divided into three parts, and the overall theme is religious (God, Satan, good vs evil type story), with use of bits and pieces from "Requiem" (liturgical service of the Roman Catholic Church).

Upon conclusion "Hangman's Hymn: Musikalische Exequien" is yet another bold, creative, and adventurous release by Sigh. Clever songwriting, powerful delivery of the music, and a professional and detailed sound production, which suits the material perfectly. It´s through and through a high quality release and a 4 star (80%) rating is fully deserved.

(Originally posted on Metal Music Archives)

 Gallows Gallery by SIGH album cover Studio Album, 2005
3.78 | 41 ratings

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Gallows Gallery
Sigh Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Gallows Gallery" is the 6th full-length studio album by Japanese progressive/experimental metal act Sigh. The album was released through Candlelight Records/Baphomet Records in October 2005. It's the successor to "Imaginary Sonicscape" from 2001 and there's been one lineup change since the predecessor as drummer Satoshi Fujinami plays bass and guitars on this album, and new drummer Junichi Harashima has been added to the lineup. The remaining part of the lineup are Mirai Kawashima (vocals, keyboards, organs, sampling...etc.) and Shinichi Ishikawa (guitars).

But it's not so much the lineup changes which make the headlines here, as "Gallows Gallery" is yet another left-turn stylistic change from Sigh. If you're familiar with the preceding releases in the band's discography you'll know that Sigh have pretty much changed musical style between each of their releases. To begin with little changes between releases and gradually much bigger changes between albums...culminating in the release of the avant garde, psychadelic, atmospheric heavy metal album "Imaginary Sonicscape (2001)", which is as weird as it is exciting. If you thought Sigh would continue down that road on "Gallows Gallery", I can tell you, that you have another thing coming...

...because suddenly it seems like Sigh have decided to release a power/heavy metal album. Gone are the harsh blackened vocals from their past releases, and instead the vocals are clean, and there are harmonies and choirs. The vocals aren't angelic clean or high pitched though, but more akin to for example the vocals on a Running Wild album. So they are still relatively raw and not necessarily what many would label pretty. The strong Japanese accent also add something different to the vocals, and personally I find the accented vocals quite charming, but I can understand those who wouldn't be able to appreciate them.

While the primary music style on "Gallows Gallery" is power/heavy metal, this is a Sigh album, and not surprisingly the band twist conventions and explore boundaries of the power/heavy metal genre, so while there are many recognisable power/heavy metal elements featured here, you have probably never heard an album in the genre which even remotely sounds like this. Drums, bass, guitar, and vocals, are complimented by the use of various keyboards, synths, and organs (and some other instruments like Gong, Sitar, and Tibetan Bells), and a generally very adventurous approach to songwriting. The material are well written, catchy, and energetic, but some tracks sound a bit the same (the melody lines are similar as are the riff style and rhythms), but the band do incorporate some surprises to keep the album varied (an example is the slow, atmospheric, and psychadelic tinged "The Tranquilizer Song").

"Gallows Gallery" features high level musicianship and a decent quality sound production (a bit thin sounding, but still decent), and upon conclusion it's another high quality release by Sigh, who must be praised both for their boldness and for their complete disregard for genre conventions and expectations from their fans. The fans are of course by now used to expecting the unexpected, but you still have to be a very open-minded music listener to be able to appreciate such major musical changes between releases. Those who have stuck by the band through their many transitions, will probably stick by them on this release too and be rewarded for their loyalty, because "Gallows Gallery" is a grower and while it is very different from anything Sigh have released before, this is still unmistakably the sound of Sigh. A 3.5 - 4 star (75%) rating is deserved.

(Originally posted on Metal Music Archives)

 Imaginary Sonicscape by SIGH album cover Studio Album, 2001
4.30 | 134 ratings

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Imaginary Sonicscape
Sigh Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Imaginary Sonicscape" is the 5th full-length studio album by Japanese progressive/experimental metal act Sigh. The album was released through Century Media Records in July 2001. It's Sigh's first release on the label after they left Cacophonous Records, as a consequence of what the band felt was bad promotion for "Scenario IV: Dread Dreams (1999)". The three-piece lineup who recorded the predecessor is intact on "Imaginary Sonicscape".

Although Sigh originally started out as a black metal act, they soon began to experiment with their sound and the last couple of preceding releases have been increasingly progressive/experimental. "Imaginary Sonicscape" tops them all though as Sigh take their adventurous songwriting approach to new creative heights. The basis in the music is fairly traditional heavy metal riffs/leads/harmonies and rhythms, and Mirai Kawashima's snarling raspy vocals in front. The latter is the only feature on the album, which links the music on "Imaginary Sonicscape" to the band's black metal past, because nothing else on the album is extreme metal related in any way.

While the heavy metal elements in the music are relatively traditional in nature, the band make sure that everything else on the album is challenging to the listener. There is omnipresent use of vintage keyboards/synths/organs and additional features like ghostly choirs, percussion, the odd programmed/electronic section, saxophone, and atmospheres which range from eerie darkness to almost sunshine psychadelic happiness ("A Sunset Song" is an example of the latter mood). The use of classical music themes and orchestral sections are also quite dominant in the soundscape. It's not an easy listen and most listener's will probably need more than one listen to decide what they think of the album. The tracks and the album in general take many left-turns along the way, and the listener is kept on his/her toes throughout the 63:35 minutes long playing time.

The musicianship is strong and while everything is performed with great skill and precision, Sigh generally perform their music with a great organic touch, which is further enhanced by the organic sounding production. The songwriting is on a very high level, and it's obvious Kawashima has some classical music education/training, because the keyboard arrangements and the keyboard performances in general are seldom heard this sophisticated in heavy metal music.

"Imaginary Sonicscape" is for the open-minded heavy metal listener, and there is no guarantee this is something a lot of people will enjoy. It's probably very much an aquired taste, even for fans of the band. Expect the unexpected and you won't be dissapointed. Personally I think the experiments sometime make the album a bit incoherrent, and some tracks feel like they lack direction, like the band just added sections/elements they felt were interesting to add without thinking about the big picture. Knowing the musical genius of Kawashima I'm sure that's not true though, and I'm sure the output is exactly what Sigh had in mind. My personal feelings aside this is still a high quality release and a 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

 Hail Horror Hail by SIGH album cover Studio Album, 1997
4.16 | 40 ratings

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Hail Horror Hail
Sigh Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars SIGH has become one of Japan's most interesting musical exports as this band has consistently dished out some of the most wickedly fun avant-garde metal since its debut in 1993 with "Scorn Defeat." While more famous for the bizarre Bungle-esque antics heard on lauded releases such as "Imaginary Sonicscape," SIGH actually started or at least tried to start out as a bona fide black metal band but even from the very beginning where all intentions were tarnished with face paint and Scandinavian frigidity, SIGH was like a fish out of water and as time went on instead of retreating and becoming irrelevant, SIGH opted to reinvent itself and become the wild and bizarre Japanese freak show that it is now so good at.

It was clear by the second album "Infidel Art" that SIGH's ambitions were too large to be contained within a single aisle at the metal music supermarket as that album displayed not only black metal ambitions but ventured into excessive symphonic, progressive and doom metal enterprises. Realizing they had to make their own way in the world, SIGH went for broke on its third album HAIL HORROR HAIL and dived headfirst into its own brand of avant-garde metal that was designed to be more of a soundtrack for an insane asylum than a good old fashioned metal music experience from the known universe. In fact the inner sleeve of the album issued a warning that the album was essentially a movie without pictures and the film jumps from scene to scene unexpectedly with the intent of narrating some bizarre story that remains nebulous.

While black metal remains at the heart of SIGH's art metal sound, the band that consisted of three members: Mirai (vocals, bass guitar, synthesizer, piano, Hammond organ, vocoder, sampling, programming, radio, effects), Shinichi (acoustic and electric guitar, bass guitar) and Satoshi (drums, triangle, tambourine, guiro, vibraslap, handclap) doesn't sound like a black metal band at all. True there are distorted metal guitar riffs and Mirai's frantic attempt at rasping it up on the vocals but the album engages in healthy doses of symphonic orchestrations and has song structures that are more akin to progressive rock than anything coming out of Norway at the time. While the opening title track may seem like a normal extreme metal track only decked out in a black'n'roll type of boogie swagger, the album quickly deviates into mondo bizarro territory and in effect provided the blueprint for which SIGH would build its entire future around.

While metal is the name of the game bonding the whole crazy scene together, tracks like "Invitation To Die" drop the metal altogether and instead create a symphonic orchestral sound that breaks out the woodwinds and piano as the main instruments leaving the raspy vocals as the only indication that SIGH is a metal band at all. "Pathetic" starts out sounding like a symphonic rock version of the James Bond theme song that follows suit and makes you wonder if SIGH had now abandoned metal altogether in favor of multi-layered orchestrations that aspire to a career of action movie soundtracks but then "Curse Of Izanagi" resumes the black metal du jour however it retains the symphonic effects and even cranks out a stealthy guitar solo. Clearly SIGH was becoming an unhinged loose canon taking metal to places never conceived of and the world would never be the same.

The album culminates with the 9 minute plus grand finale "Seed Of Eternity" which finds the band's newfound liberties stretching out into untethered progressive excesses. The track pretty much brings together the black metal bombast, the blues rock, symphonic orchestrations and stealthy meandering compositional approach that would continue on up to "Imaginary Sonicscape" and launch SIGH's bizarre interpretation of metal music into the larger international scene. Overall HAIL HORROR HAIL is a more focused affair than some of the album's that follow but pinpoint the exact moment when the band had an apparent realization that they weren't like the rest of the kids on the playground and decided to embrace it as a strength rather than a weakness and for that we can only be grateful that these musical freaks had enough self-confidence to sally forth into the brave new world of avant-garde metal with no restrictions.

 Infidel Art by SIGH album cover Studio Album, 1995
3.71 | 25 ratings

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Infidel Art
Sigh Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars SIGH's connection to the world of second wave black metal is in many ways more circumstantial than musically related but throughout its multi-decade career and indeed displaying some of the characteristics that the Norwegian scene delivered in abundance, the band has continued to evolve its unique hybridization effect that really took off on this second album. The discovery of this band can be attributed to Euronymous of Mayhem, one of Norway's premiere forces of black metal terror that the world wasn't ready for. After hearing this bizarre hybrid of musical styles that mixed European black metal with symphonic and classical elements enshrouded in the avant-garde, Euronymous quickly signed the fledgling act to his infamous Deathlike Silence Records where the trio of Mirai Kawashima (vocals, bass, keyboards), Shinichi Ishikawa (guitars) and Satoshi Fujinami (drums, percussion) released the debut album "Scorn Defeat" but to the band's dismay Euryonymous would soon die and the label would go down in flames with him.

Back the drawing board but having gained some momentum with a single release due to the band's early idiosyncrasies that easily stood out amongst the burgeoning packs filling up the wolf's den and found a new home on the British based Cacophonous Records where they would soon release the second album INFIDEL ART. The fact is that SIGH has never truly fit into the black metal scene even from the very beginning but on "Infidel Art" it was obviously that they had no interest in trying to adapt to that cookie-cutter description and instead opted to explore a wide new arena of possibilities and in the process of going down this path has become one of Japan's most interesting bands to exist within the greater metal paradigm with one album after another showing yet another distinct persona that never seems to find an end to the variations and experimental touches that this band has nurtured every step of the way.

While still generally dropped into the black metal category for convenience's sake, INFIDEL ART doesn't exude the typical rage and boisterous angst that the early 90s delivered in the second wave scene. Instead it mixes the elements of black metal that include the filthy raw guitar distortion and raspy vocal style with Western classical infusions that offer long drawn out symphonic piano motifs with many moments more reminiscent of Frederic Chopin than anything Darkthrone or Emperor ever created. There is a clear sense of nonchalant meandering on SIGH's second offering especially with the tamped down tempos that offer more glimpses of doom metal than the blackened blastbeats or tremolo picking styles almost ubiquitously implemented in the style of the era. Add to that a clear sense of progressive sensibilities that allowed the compositions to spiral into sophisticated layers of tones, timbres and labyrinthine constructs that eschewed the predictable tritone fury and instead created journeys into a more surreal sonicscape.

With two distinct album slices called "SIde Terror" and "Side Funeral," INFIDEL ART opens with "Izuna" which displays some connections to the black metal world, it doesn't take long for the copious piano rolls and symphonic touches to usurp the existential angst and instead create a lush form of progressive rock. Tracks like "Desolation" get even weirder as it lollygags slowly down a lamenting trajectory at a funeral doom metal's pace only accompanied by lush atmospheric orchestration, classical piano riffs and even eerie theremin sounds creating a haunting vibe. The vocal performances eschew singing for the most part with some sort of declarative poetic prose only half-sung which after listening to this so closely after reviewing Dødheimgard's magnum opus "A Umbra Omega," it becomes perfectly clear exactly where the inspiration behind that album originated from which makes SIGH a significant early band of influential prowess for the avant-garde splintering off bands of the black metal world who also quickly tired of the one-dimensional nature of the most simplistic paradigms and went for the avant-garde jugular.

The longest track "The Last Elegy" at 10 and a half minutes begins like a symphony from the 1700s in all its authenticity before morphing into a doom metal monster that sounds a bit like My Dying Bride only with classical keyboards replacing the lugubrious string sounds of the violin. The track ratchets up both the metal and symphonic touches as well as becoming more progressive with a continuing parade of musical motifs building intensity with interesting call and response vocal sections as well as a more upbeat Black Sabbath guitar riffing section. The album continues with not one but TWO more tracks that just miss the ten minute mark with a continuation of the classical music motifs fortified by both doom and black metal styles all decked out symphonic touches and progressive build ups that explode into thundering climactic resolutions. I've never considered INFIDEL ART to be one of SIGH's best works but after a few more listens lately this album has gotten under my skin and for those who aren't black metal purists and appreciate the dexterity of genre juggling so perfectly performed then you can't go wrong with this album. Not quite as adventurous as some of the future albums but what this album lacks in sheer diversity of musical styles, it more than makes up for in top notch compositions that find the perfect balance between beautiful melodies and metal bombast although tamped down to the doom metal variety for the majority of the album's run.

 Heir To Despair by SIGH album cover Studio Album, 2018
3.92 | 10 ratings

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Heir To Despair
Sigh Experimental/Post Metal

Review by FragileKings
Prog Reviewer

4 stars Though I've lived in Japan for nearly 20 years, I don't know many Japanese metal bands, and until recently, I didn't know Sigh either. Then within the space of about a week, not only was Sigh mentioned in two metal album discussion videos I watched on YouTube, but their album 'Heir to Despair' showed up in a recommended albums message from Amazon. Being a sucker for album art, I ordered the album right after checking out whose album cover this painting graced. Then I made a quick visit to YouTube to make sure I hadn't ordered something that would leave me dubiously scratching my chin.

The artwork really intrigued me. It has a very 1950's/60's, Showa' Japanese look to it. The woman is smiling as beautifully as though she were a star actress posing for a movie poster. And yet the plant she waters has withered and the room behind her looks not only austere but items on the floor and torn images on the walls suggest that someone had a serious freak out session in there. Word is the image and the album are about insanity? (The Japanese text translates directly to 'Inheritor of despair', by the way)

I had no idea about what music to expect except for that it would be metal. That Sigh cover black metal, avant-garde metal, progressive metal and more was unknown to me; however, before the album was over I could have guessed most of that myself. The music is speedy, melodic, symphonic at times, suggestive of power metal in a spot or two, and holds a fudge ton of progressive and odd bits to make sure that the album never becomes repetitive. One thing I'm very glad to hear is the variety of additional instruments, particularly traditional instruments like koto and shamisen, but also a good variety of other sounds and effects. Flute also figures in prominently in some tracks. The 'Heresy' trilogy is the most exceptional moment on the album with distorted vocoder vocals, electronic effects, sounds and voices, and a liberal amount of creative editing used to great effect.

Actually, the whole album very masterfully weaves together such an eclectic melange of metal styles so that crunchy guitars yield to Eastern music for a space, flute delightfully plays along to distortion- enriched power chords, symphonic elements add the extra 'umph' to some parts, accordion lends a folk feeling, and traditional Japanese instruments expand the soundscape further. As another reviewer stated, one never can be sure of where the next track will go or what will follow.

I'm not especially a fan of Japanese vocals in any popular music genre because I find them usually too similar in a predictable way. But here, the vocal styles and sounds I would expect from a Japanese metal band don't remain stuck in a trench. They are principally black metal croaks but joined at times by growls. There are also chanted vocals and rapid fire, staccato utterances. Most of the lyrics are in Japanese for which I'm grateful as I sometimes cringe the way some vocalists struggle with English phonetics. (To give an example from another band, 'I cross my heart / I cross my eyes' when 'cross' was supposed to be 'close'). Yet, to give praise where it's due, none of the English on 'Heir to Despair' has stood out for being poorly pronounced to my ears. Then again, I've mostly been enjoying the sounds of the music and vocals and haven't concentrated on the lyrics.

Having never heard any other Sigh albums, I have nothing to compare this to. But I'm very impressed with the package presented here. I love an album of creative and diverse musical approaches, and the recording quality captures all the band's efforts really well. It's a delight to listen to this album!

 Heir To Despair by SIGH album cover Studio Album, 2018
3.92 | 10 ratings

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Heir To Despair
Sigh Experimental/Post Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Sigh have been one of the most interesting Japanese bands for some time now, and here with their eleventh album they have taken another musical turn in their journey which may surprise some and will delight many. It is an album about insanity, and at first glance at the artwork that doesn't make sense as surely the woman watering her flowers is smiling? Find a nice big version of the image and you will realise the plants are dying, it not already dead, and the room behind her is in chaos. Japanese band Sigh will release their eleventh studio album Heir to Despair on November 16 via Candlelight Records. The album is mostly sung in Japanese, which is very unusual for the band, while Mirai Kawashima used some Japanese traditional singing techniques and Kevin Kmetz, formerly of Estradasphere and master of the traditional Japanese instrument, the shamisen, is featured on several tracks. This definitely gives the band a very traditional feel

While their last album, 'Graveward', contained some symphonic and orchestral elements, this has one has been inspired by progressive bands and contains plenty of vintage keyboards and flute as well as the riffing guitars we would normally expect. The band state they been paying attention to the likes Brainticket, Embryo, Agitation Free, Between, Gentle Giant, Os Mutantes, Modulo 1000 and Black Widow, which isn't a list one can imagine ever seeing from a Japanese metal act. I love the sheer diversity of this album, one never knows what is coming next, either from the next song or even the next few bars of the song which is being played. One might imagine it to be incredibly challenging, but in fact it is actually a really easy album to listen to. I enjoyed it the first time I played it, and each time since then has allowed me to discover something else.

Sigh continue to move, change, and challenge both themselves and their fans, and this is an incredibly strong result on every level.

 Scenes From Hell by SIGH album cover Studio Album, 2010
4.04 | 34 ratings

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Scenes From Hell
Sigh Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars The first Sigh album to include the scintillating contributions of Dr. Mikannibal on saxophone and vocals, Scenes From Hell continues the band's explorations of symphonic avant-black metal frenzy. David Tibet of Current 93 is an unexpected but welcome guest this time around, offering spoken word recitations on The Red Funeral and Musica In Tempora Belli (roughly translating to "Music In Times of War"). It's all gruesome, rough fun, though I do wonder whether a more lively production job wouldn't have teased out all the ingredients of Sigh's bizarre stew a bit more evenly. That said, the air of murkiness does harken back to Sigh's earliest releases, setting this in a continuity of musical development that began in the second wave of black metal and has fruited in this bizarre hybrid.
 Scenario IV: Dread Dreams by SIGH album cover Studio Album, 1999
3.95 | 35 ratings

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Scenario IV: Dread Dreams
Sigh Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Scenario IV by Sigh might be better entitled "Hail Horror Hail II", since it's largely a continuation of the general approach of that album, with extensive shifts of musical style and approach mid-composition being a regular occurrence. With a range of extreme metal styles and non-metal styles, as well as sections combining the two (there's bits which recall some of the more "black 'n' roll" segments of Hail Horror Hail, for instance), it's certainly as diverse an album as its predecessor, though the transitions here seem more abrupt and arbitrary than on that album.

It's still a very solid release, mind - "not as good as Hail Horror Hail" still leaves room to be very, very good indeed.

 Hail Horror Hail by SIGH album cover Studio Album, 1997
4.16 | 40 ratings

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Hail Horror Hail
Sigh Experimental/Post Metal

Review by Warthur
Prog Reviewer

5 stars An early masterpiece from Sigh finds them shifting from the straight-ahead black metal of their early releases into what you might describe as symphonic black metal style - but only if the symphony in question were composed by Mr. Bungle or something. The opening title track almost resembles a hybrid power-thrash metal piece, with only the shrieked vocals keeping us anchored in black metal territory, and then the rest of the album takes us on a delirious tour de force, with moods ranging from the manic (like in the enigmatic 42 49) to the epic (like album centrepiece The Dead Sing, which conjures a landscape where "even the dead CRY FOR HELP!").

If you want find the spot where Sigh definitively stepped away from the second wave Norwegian black metal forces they'd been allied with in their early years and became their own unique channel of chaos and nightmare into the world, then Hail Horror Hail is where it all happens. Give it several listens, because you won't unpack everything in this movie for your ears right away.

Thanks to morpheusdravenfuid=morpheusdraven for the artist addition. and to E&O Team for the last updates

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