Friday, 02 July 1909 00:00

BLOGCRITICS.ORG Reviews SIGH - 'Imaginary Sonicscape'

Related to  Sigh
Rate this item
(0 votes)
With elements of jazz fusion, black metal, electronica, and even disco, this is one hell of a courageous piece of work.

DATE: 2/19/2009
RATING: n/a
URL: http://blogcritics.org/archives/2009/02/19/072542.php

Thanks to The End Records, Sigh’s masterful Imaginary Sonicscape can live on again as the outrageous helping of daring rock it is.

The record was initially released in 2001 and has become a bit of a legend of vintage keyboards, immense guitars, growling vocals, and heroic songwriting. With this 2009 remastered reissue, the original recording is accompanied by bonus tracks, extended versions of songs, and a previously unreleased cut that fits the bill nicely.

Sigh
is considered to be a Japanese black metal band with symphonic leanings, although genre calisthenics are always vain and unreasonable. Describing the music of this Mirai Kawashima-led crew is tricky, to say the least, as they ride through elements of avant-garde, metal, classical, and even free-form jazz all within the span of an average song.

And Imaginary Sonicscape finds Mirai, Shinichi Ishikawa, and Satoshi Fujinami in an unspeakably innovative state of mind.

A twirling, razor-sharp, larger-than-life work of colourful songcraft and epic musicianship, Imaginary Sonicscape’s reissue should bring new fans to this vast work of art and will grant old ones more appreciation for the ingenious spirit occupying this record. As Mirai explains, this record is “something you should smoke to. The music does not belong to any country or any era. It's a 100% imaginary world and this is the most psychedelic and exotic Sigh album to date.”

The expedition to the make-believe planet begins with the guitar chomp of “Corpsecry – Angelfall.” A classic metal riff reaches out and sucks the listener in to a whirlpool of boundless possibilities. Marai’s vocals crank out like a general leading a march until Shinichi lays out a solo of clean sophistication and magnificence.

The roar of Mirai’s vocals on “Scarlet Dream” is invigorating. He plays call and response over Shinichi’s persuasive guitar, leading us further into their peculiar world. “Nietzschean Conspiracy” follows with lyrics written by Bård Eithun. Its smart tone and tweeting effects create uncanny ambiance over which Mirai snarls and growls.

Other tracks mix and match influences with ease, swapping tones in full flow in an almost brash craze. Check out the bait-and-switch of “A Sunset Song.” Bitches Brew-era Miles Davis would be proud.

Mirai’s work with a joyous collection of keyboards and synthesizers (including a Fender Rhodes, Hammond, minimoog, Yamaha acoustic piano, Hohner clavinet, and Yamaha string machine) is something to experience. He adds thick layering and mood to the shape-shifting “Dreamsphere (Return to the Chaos)” and paints intrepid, brash shades all over the epic five movements of “Slaughtergarden Suite.”

“Voices” was left off of the original version of Imaginary Sonicscape, but its appearance here is fitting. The vocal effects, performed on a Speak & Spell of all things, mesh with the ghostly atmosphere and jazz tempo to create a distressingly beautiful number. Sigh’s Imaginary Sonicscape is a great place to start with this remarkably talented outfit. With elements of jazz fusion, black metal, electronica, and even disco, this is one hell of a courageous piece of work. The reissue breathes fresh life and helps generate buzz for the band as they prepare to release a brand spanking new masterpiece in 2009.

Last modified on Tuesday, 20 July 2010 16:22
Sigh

Sigh

Sigh is regarded by many as Japan’s leading extreme metal export, having released numerous highly esteemed recordings throughout their twenty year existence.

Sigh shocked fans when it was announced that the band had been signed to the United States progressive label, The End Records, which has housed renowned acts AgallochDissection,Green CarnationUnexpect and Voivod, just to name a few. Fans were also blown away when the announcement that Hangman’s Hymn would be released on The End Records by the end of 2006 (But was delayed many times until a June 2007 date was secured). 

Hangman’s Hymn is a ten track assault of orchestrated violence, deriving heavy influence from German classical Romantic composers such as Anton BrucknerGustav Mahler, and Richard Wagner. It is divided into three acts, and marks the return of Mirai’s harsh vocals after their absence on Gallows Gallery. The album cleverly introduces reoccurring themes which, as the album progresses, build up into one of the most climactic finales ever heard in Sigh history. Sigh went into the studio in August 2006 to record the album. It was released on June 12 on The End Records and May 23 on Soundholic Records in Japan (With bonus tracks).

2007 began as strong as ever for the band, who played their first show in over five years on March 17th at Shin-Okubo Hotspot in Tokyo. Dr. Mikannibal joined the band on stage for the first time on the alto sax and backing vocals.

Later it was announced that she would become the next official member of the band. 

Nearly a month later, on April 8th, the band played at Norway’s Inferno Festival. The band’s performance at Inferno was eagerly anticipated and the band exceeded expectations with a set list that covered a lot of the band’s early history. 

A United States summer tour scheduled for June and July was abruptly cancelled due to financial issues on behalf of the End Records. The band was still scheduled to play their first ever two shows with Mayhem, however these two shows were cancelled when Hellhammer received an injury that prevented him from playing. 

In November of 2007, The End Records reissued a remastered Gallows Gallery complete with bonus tracks and outtakes. 

Sigh kicked off 2008 recording seven Venom covers in the studio with Dr. Mikannibal on lead vocals; an excercise likened to Metallica’s initiation of Jason Newsted on the Garage Days Re-Visted EP. The final product, “A Tribute To Venom,” was released on September 2nd through The End Records on black, red, and peppermint vinyl in limited quantities. 

The band followed this release up with their first headlining North American tour spanning fourteen cities with Unexpect from September 6th to September 22nd. Zimmer’s Hole was originally supposed to join the tour as well, though immigration issues held them back. Yasuyuki Suzuki, once again, filled the bass position for the tour.

Sigh is featured in Sam Dunn’s 2008 documentary “Global Metal.” 

At this point in time, Sigh appears in definitive shape. Currently preparing to record their eighth full-length album, entitled “Scenes from Hell / Tempore Belli / Vanitas” which will feature session brass and string section work. But has now been officially changed to simply “Scenes From Hell”. For eighteen years Sigh has represented Japan as one of their leading metal bands to emerge worldwide; gaining success and acclaim. They have opened the door for many other bands to follow, further expanding the quality of the far eastern scene. Sigh is a band who is not afraid to frequently experiment with change, traveling into a realm never before attempted. They are a band who deserve every piece of recognition that they earn, and after their history of releases… they have earned the attention of countless metal fans worldwide.

E-mail: This e-mail address is being protected from spambots. You need JavaScript enabled to view it