In Somniphobia

Japan’s vast array of inimitable and intriguing bands seems to have no limits, as they have blended, transformed, molested, hacked, patched and sewed musical genres with reckless abandon since popular music entered their secluded shores. As a country with one of the most ardent-to-the-core metal fandoms in the world, and a great musical culture, it should come as no surprise that bands like X Japan, Boris, Dir En Grey, Gargoyle and even… yikes… Babymetal, have come to exist. From the blackest side of the spectrum, mighty Sigh have reigned supreme for several decades now, and while 2001’s Imaginary Sonicscape is considered their absolute masterpiece, personally, I give that honor to their 10-year-old and ninth studio LP, In Somniphobia. To my ears, an additional decade of experimentation would provide Mirai and his deranged cohort with a better grasp of the avant-garde sensibilities and a higher degree of finesse to their bizarre and highly enjoyable (de)compositions. Moreover, In Somniphobia possesses an excellent production mix, something that wasn’t fully achieved for Imaginary Sonicscape and other of their previous works.

One of the highlights of 2012, In Somniphobia is a conceptual album of sorts. The core of the album is the “In Somniphobia” suite that resides at its center, a roughly 40-minute long composition divided into five full-fledged songs plus an intro and an outro, whose main theme is descent into madness and the loss of grip on reality. Bookending this suite are two dynamic, under-five minute tracks at the beginning of the record, and two marginally larger tracks at the end. Everything kicks ass magnificently of course, even though the short intro and outro are brief atmospheric interludes with weird noises, and little else. But if I had to choose a tune that stands a bit taller than the others (no easy feat), that’d be track no. 2, “The Transfiguration Fear”. It has some of the craziest soloing section I’ve heard in a metal tune, starting at around the two-minute mark, as Mirai employs a street organ-like sound for his solo, followed by Dr. Mikannibal’s jazzy sax solo and then Shinichi’s second solo (after a brief but explosive one around the one-minute mark). Like the rest of the tracks, there’s a lot going on. There’re j-popish, anime-like chorus, some bongo-sounding percussion aside from the solid drumming by Junichi Harashima, applauses, whistling, and a dark vocal assault carried on by Mirai, Mikannibal and one of the album’s stellar guests, Mr. Kam Lee. That’s my favorite track from all of 2012 releases.

The “In Somniphobia” suite is a little less explosive that the couple of introductory tracks (as “Purgatorium” is almost as amazingly potent as “The Transfiguration Fear”), but it gets even weirder. The Meads of Asphodel’s Metatron provides narration during its intro, “Lucid Nightmare”. “Somniphobia” itself assaults the listener with many calm moments filled with a wide array of keys and noises, intertwined with a solid set of mid/slow-paced riffs by Shinichi Ishikawa. His guitar playing here is pure fire, in what would end up being, sadly, his last studio appearance on a Sigh record, as he would part ways with the band in 2014 after a 12-year stint. To my ears he remains the best guitar player Sigh has ever had, but at least he left with a high note. His blackened thrash riffs constitute the backbone of the album, with everything else floating around his six-stringed attack. His many solos cut like a red-hot knife through butter, melodic and intense, pushing everything else to the background when they appear. Just listen to the intro of “L'Excommunication à Minuit” to have an idea. That 5-minute composition has a 60s psychedelic vibe and proggy sax interventions by Mikannibal, some of the keyboards reminding me of the Mexican El Santo lucha libre films from the 60s and 70s. I even bet Mirai has seen some of those.

The following tracks, “Amnesia” and “Far the In-Between” have a burlesque/vaudeville influence to them, featuring smoky cabaret jazz mixed with traces of chanson française, with even an accordion making its way to appear on several moments. Mirai’s piano and Mikannibal’s sax are the leading instruments for those tracks, with the metal elements decreasing considerably, with the exception of the guttural vocals, some sporadic riffing and soloing by Ichikawa, and intermittent manifestations by the rhythmic section. But mainly, Mirai’s deranged rasps reminds us that this is still and extreme metal album, as he growls, howls, shrieks and sings about wide-awake nightmares and the loss of sanity. The nine and a half minute long ““Among the Phantoms of Abandoned Tumbrils” picks up some speed, with a thrashier rhythmic section, even though other elements also coalesce, in particular a Danny Elfman-like orchestration, and an accordion near the end of the composition. “Fall to the Thrall” and “Equale” amp up the metal elements again, though some avant-garde elements still appear, especially Mirai’s complete arsenal of keyboards. And thus the circle/circus of insanity is completed.

This is such an immersive piece of work, complex but fun, uniquely fucked up and enjoyable for those sufficiently open-minded… or unstable, and adorned with one of my preferred Eliran Kantor's cover artworks. I feel Sigh’s reached a summit with In Somniphobia that they just haven’t been able to re-climb or reclaim. The loss of Ishikawa was a major blow, but as long as Mirai continues to put to sound his extravagant ideas, Sigh will continue to draw interest and remain one of the most exquisite avant-garde ‘black’ metal bands in existence.

Sigh have emerged from Japan as a prevalent example of what beauty can ensue from creativity in black metal. Indeed, their experimentation in combining music genres has been evident throughout their musical career, such as their more symphonic focus on 2008's Hangman's Hymn, or their progression towards more psychedelic and avant-garde loyalties on 2001's Imaginary Soniscape (which, if I might add, is the most similar to In Somniphobia in terms of style). Even in their earlier releases, such as Scorn Defeat (1993), their rendition of an obviously doom-inspired black metal work attracted interest from the black metal community, rendering them now a contender for the most innovative and creative bands in modern metal.

Although Mirai Kawashima's vocals will resemble those typical in black metal and not dissimilar from bands like Wintersun, Sigh's riffs are predominantly reminiscent to those found in classical heavy metal, in that they are highly melodic, and not afraid to venture into major chord progressions. However, it is the addition of unpredicted instruments, ethereal audio effects and masterful guitar solos that will keep the listener perpetually amazed throughout the duration of this album. With aspirations as idiosyncratic as Sigh, falling into directionless abstractness is not difficult, however Sigh undoubtedly maintain their ambition and direction in each song, with each spontaneous burst of instrumental vibrance having significance, not merely included just for the sake of it - truly a testimony to their creativity.

The songs incorporate elements of progressive rock, jazz, psychedelia, and feature strange appearances from operatic chants and avant-garde audial effects. However, the stand-out point on these tracks is certainly the stellar guitar solos, and great saxophone instrumentation from Dr. Mikannibal (especially on the track 'The Transfiguration Fear').

The majority of the album is comprised of a series of tracks, entitled 'Lucid Nightmares', and should be listened to consecutively as they track a more psychedelic journey riddled with intriguing audial effects and disarray. Surprisingly, the amount of experimentation throughout the album would've supposedly used up every idea imaginable by the concluding tracks, but Sigh evidently had more tricks up their sleeve.

Ultimately, this album is executed with pure perfection, with concise instrumentation and unparalleled creativity being put together to form an album unlike any other. This is Sigh's shining moment of glory, and every moment bears significance.

Favorite tracks: 'Purgatorium', 'The Transfiguration Fear', 'Lucid Nightmares II: Somniphobia', 'Lucid Nightmares IV: Amnesia'.

Originally published at http://suite101.com

Once upon a time, Sigh attained attention as an early pioneer of Japanese black metal and for their connections to the loveably controversial Deathlike Silence Productions. But while many bands would be happy with that cornerstone status, Sigh has pushed many boundaries over their twenty-year career and could be regarded as the Mr. Bungle of extreme metal. In Somniphobia is the group’s ninth full-length album and provides another good example of how to expect the unexpected.

Sigh’s style is one that is rather hard to pinpoint and their status as a black metal band has become somewhat questionable in recent years. The vocals are as raspy as ever and the drums can reach some faster points, but the rather melodic tone seems to have more in common with thrash or power metal than anything else. That’s not even factoring in the various out-of-genre flirtations that include (but are not limited to) classical, blues, prog, ambient, and even a bit of disco…

The band’s dynamic is also rather odd though every musician shows off a lot of talent. The guitar and rhythm section get plenty of chances to shine but they’re not as characteristic as the vocals and keyboard work. The album is also made memorable for its saxophone use as it provides melodies and solos in a way similar to Dick Parry’s collaborations with Pink Floyd.

But with all the potential for madness and anarchy, Sigh is one of those avant-garde bands that are nice enough to know how to make their compositions stand out and most of the tracks on here are quite energetic. “Purgatorium” starts things off strongly and plays out like a more sophisticated Children of Bodom with its bombarding keyboards, catchy vocals, fast drums, and bright guitar melodies. “Amongst the Phantoms of Abandoned Tumbrils” is another fast highlight and features consistently speeding drums and guitars supporting some climactic chants and fanfare within its nine minute running time.

The real meat can be heard on “Amnesia” and “Far Beneath the In-Between,” two slower tracks with similarly waltz-like tempos. The former is a bluesy tune that features smooth keyboard work and seductive saxophone solos going against a harsh blues groove while the latter has a carnivalesque atmosphere with a fun guitar riff and an insanely infectious guest performance courtesy of legendary Massacre growler Kam Lee. Both tracks use their weirdness well and “Amnesia” makes me wonder if blackened blues could ever a legitimate subgenre…

The album’s numerous interludes are also worth noting. While two of them are separate tracks, the majority of them are placed in the songs themselves to serve as demented segways. The resulting effect is jarring when listening to individual tracks but fitting the album’s nightmarish concept when played as a whole.

In a world where extreme metal is combined with everything from metalcore to shoegaze, Sigh serves as a strong example of how combine multiple genres without sight of good songwriting. As someone that’s been meaning to get into them for years, I don’t know the highest recommended starting point but this one would probably be a good idea to try out. It’s definitely one of the more interesting efforts that 2012 has offered.

Current Highlights:
“Purgatorium”
“Somniphobia”
“Amnesia”
“Far Beneath The In-Between”
“Amongst The Phantoms of Abandoned Tumbrils”

Japanese avant-garde black metallers Sigh present their newest eclectic album, ‘In Somniphobia,’ and it turns out to be one of the only clunkers in their vast discography. Easing off the Black-ness of their sound and going for the experimental, whacked-out weirdness ends up creating an uneven, solely disappointing album.

However, this isn’t readily apparent at first, as first single ‘Purgatorium’ is perhaps Sigh at its best, with the thrashing pace, unusual riff patterns, off-the-charts insanity and melodic sensibilities that have remained a trademark of the band for so long. The keyboard flourishes and Mirai’s raspy vocals along with a punchy drum-attack make for an instant classic, and follow-up track ‘The Transfiguration Fear’ is almost as good, opening with what sounds like bongos before charging into yet another thrasher that hurtles along at great speed, featuring a rather wicked guitar riff and absolutely infectious use of clean vocals to make a lasting impression even before the saxophone solo. ‘Fall to the Thrall’ continues this fine tradition of unusual experimentation and combination between the Black and Thrash of their sound, which represents the band charging forth at their zaniest, creative best.

The main problem here is that these are the album’s bookended tracks, leaving the middle portion to contain the band going off into the Avant-Garde territory and nearly ditching the Black Metal, which is rather odd as the band was usually incredibly good at mixing the two. Presented more as the soundtrack to a waking nightmare than anything resembling metal of any kind, despite some doom-laden moments in the title track and sections spread throughout the two longer tracks, this bizarre and downright weird section of the album is more outright boredom than anything else. With sections that appear to be straight out of movies from the ‘40s and ‘50s, oftentimes the only thing reminding the listener it’s a metal band is the raspy vocals whenever they appear. Usually this is a band that can make the unusual satisfying and appealing, yet with tracks like ‘L'excommunication à Minuit’ and ‘Amnesia,’ the melodic interludes, jazz-based riffs and offbeat instrumentation don’t really amount to anything other than a long period of extreme confusion, bewilderment and eventually frustration in waiting to see when the band’s going to get back to thrashing. That most of these songs are extreme epics, all but one going over seven minutes with that last being five-and-a-half, it takes up way too much time in the album doing as little as it does.

While it had been pointing the way for awhile that Sigh were going into this progressive/avant-garde/jazz-fusion structure for a while now, it’s still a shock to see a band that used to be so good at merging what seemed like influences from the extreme opposite ends of the music spectrum and put them together so they sound like natural bedfellows. There’s still some of that here, and it’s still Sigh so you know there’s going to be parts that are rather good, but as a whole this one is a bit of a disappointment.

I'm going to spoil the ending right off the bat, I pegged In Somniphobia as my potential Album of the Year way back in March, and here, rolling near the end of October, it's only cemented its position in the lead spot. I try not to spoil my year end list beforehand, but I see nothing dethroning this, the only albums that were even remotely close were also released very early on in the year, and they lack all the intangibles that make this album so special. I was unfortunately not introduced to the magic that is Sigh until roughly 2009, so Hangman's Hymn, undoubtedly the best album released in 2007, was unfortunately snubbed of my album of the year, so it's only fitting that they come roaring back so powerfully five years later to easily usurp the top spot from my mystery #2 album (I need to keep some suspense, people!).

In Somniphobia finds itself continuing Sigh's unending theme of evolution, considering they haven't written anything resembling the same album since their inception. If you held a gun to my head whilst simultaneously dangling me over a pool of sharks and forced me to choose the Sigh album this resembles the most, I'd say Imaginary Sonicscape (maybe it's just me, but (assuming you all know the band's naming formula) the "I" and "H" albums always seem to be the best) based on how "out there" it is and how many different ideas are thrown into the huge melting pot. A huge majority of this album isn't even based in metal, instead opting for a weird, tripped out jazz style, complete with long psychedelic jams and a genuinely terrifying atmosphere. Seriously, listen to tracks like "Amnesia" or "Somniphobia" or portions of "Equale" and then promptly tell Cynic and Atheist to fuck right off. This is the purest mixture of jazz and metal I've ever heard, and as a result I have even more reason to hate Cynic, those uninteresting hacks. Perhaps it is my own personal psychosis, but there are several sections of the album that remind me of mid-to-late nineties videogame music as well. For example, I could swear "Ending Theme: Continuum" is straight out of Goldeneye, and the mechanical, background noises of "Somniphobia" bring to mind the darker areas of Donkey Kong 64. Keep in mind that I know the band isn't actually paying respects to the City of the Ancients Theme from Final Fantasy VII, but the point is that there's a nostalgic quality to the album, even upon first listen. An esoteric warmth of familiarity lying dormant underneath a harrowing, bleak surface.

Sigh has been pretty squarely detached from their black metal roots from as far back as Hail Horror Hail fifteen years ago, and what they exhibit now is a mad avant garde blend of traditional metal with hints of black metal and electronic ambiance and trip hop and jazz and orchestral suites and pretty much anything else you can think of that ponytailed and neckbearded psychology majors in Agalloch shirts claim to listen to by the fireside with a nice Merlot. I really couldn't explain in words precisely what Sigh sounded like if you had a gun pointed at my son, they truly are the most unique metal band in the world today. They get crapped on by people (numbskulls) who accuse them of being silly carnival music masquerading as metal, and I can see where that comes from to a point. The instruments used can definitely be tied to more festive origins, and the climax of the album, the build and release and final chorus of "Equale", can definitely be pointed to if you were to make this accusation, but if you were to actually make this accusation you can be safely disregarded and ignored since you are clearly an idiot. When the album isn't wandering off down the dark and twisted path, there is indeed an eerie jubilance to be found. I'll touch on this a bit more in depth later, but despite the light guitar tone and major melodies scattered about, this album is nothing if not nightmarish and dark. "Fall to the Thrall" is probably the most in-your-face example of the harm the album surely wishes upon you, as it is the most aggressive and pessimistic track on the record. "Purgatorium" and "The Transfiguration Fear" are more hooky, and despite the more upfront presentation they are still rather layered, with different little things you'll catch each time you listen to it, while simultaneously being interesting the first time you hear it (a rarity when it comes to songs like that). I also feel I have to point out that the only metallic song during the middle stretch of the album is "Amongst the Phantoms of Abandoned Tumbrils", which isn't very riff heavy regardless, instead focusing on a suffocatingly frantic atmosphere. It reminds me a lot of "Salvation in Flame" from Hangman's Hymn. I also adore the opening of "Equale", as it sounds like Weather Report went down the rabbit hole and landed face first in a puddle of LSD. Despite the seemingly random assortment of shit I've been mentioning, Sigh manages to actually not be proggy, which is a great thing since the proggier the music, the less likely I am to like it. Everything is progressive in the technical sense because it moves along and evolves naturally throughout the length of the song, but they're still songs, with an intended beginning, middle, and end. Unconventional as they may be, they're still well thought out and executed perfectly.

I need to step back for a moment before I really delve in to why this album is so perfect and point out just one thing that should sell you on the album alone: "The Transfiguration Fear" is, bar none, without a doubt, 10000% positively the best metal song written since... my god since "The Oath" all the way back in 1984. I'm dead serious, never in my life have I heard one song with so many ideas, so many unconventional quirks, and so much raw and unfettered brilliance contained in under five minutes. Everything I love about Sigh and about music in general is showcased and presented in the best possible way. The main theme repeated throughout hooks instantly and never lets go, and literally every melodic line layered over the frantic and bizarre trad metal inspired fire underneath is endlessly hummable and fits perfectly. I never thought I'd use these next twenty words in a row, but when the band breaks down into the Cosmo Canyon theme, the keyboard to saxophone to guitar solo is fucking magical. It transitions so smoothly and builds up masterfully to one of the most soulful guitar solos ever found in the genre. In this one section, Shinichi proves once and for all that people who claim that you cannot inject soul or feeling when it comes to soloing in metal are batshit crazy and flat out wrong. It's a stunningly beautiful trio, and I promise you I will never get over how masterfully the entire section is handled. The almost childlike chorus of "End of torment coming / See the world, it's to disappear" is bone chillingly haunting and executed flawlessly. That's something this song does exquisitely well, the atmosphere is downright unsettling despite an air of levity. What I mean is that the drums drive the song forward with a strong galloping pattern, and the melodies seem almost merry in a way. The theme is sometimes accompanied by clapping and there are sections with an elongated whistle in the background, and despite all these qualities that would normally never be found in a dark and apocalyptic track, it never comes off as bouncy or lighthearted. Instead, the visual I'm given is of a madman who has strapped you to a gurney and is happily whistling to himself as he lifts up and inspects each and every sharp instrument he plans on using to dissect you with. I can clearly see his sharp, Kefka-like face and his Glasgow smile, gleefully inspecting you from behind a rusty scalpel. This hypothetical madman, and more importantly this song itself, absolutely revels in the evil that it embodies. It loves how dark and horrifying it truly is, and uses every trick in the book to make you feel uncomfortable, and makes you beg for more. This atmosphere is conveyed perfectly and only helps to reinforce my claim of this being the best song written in nearly thirty years. Just the way the song fades out with the cheery rhythmic clapping and the distant whistling of the main theme, punctuated by church bells... spine tingling. You, as a fan of music in general, are selling yourself short by not listening to "The Transfiguration Fear".

Okay, now that I've spent over 530 words describing only one song, you're probably wondering "well is the rest of the album as good?". Amazingly, yes. Not one moment of In Somniphobia falls flat, all sixty four minutes are crammed with equally brilliant and terrifying ideas, and this is one of the few albums you experience more than you hear. Now this is going to sound strange coming from a guy who typically likes his music to be on the fast side, and usually melodic (hence my love of thrash, power metal, and punk), but this record is paced perfectly. I mean it, and that's including the half hour consisting only of spacey jazz jams in the middle. We're initially started off with a barnburner in "Purgatorium", before being treated to the auditory equivalent of being told you won the lottery whilst mid-blowjob that is "The Transfiguration Fear", and then we're treated with what I assume is meant to be a long suite. I say this because track three is labeled as an intro and track nine as an outro, thus bookending over 40 minutes of music, most of which therein being the slow jazz based stuff and strange noises. I wish I could adequately describe what the fuck is happening for the majority of this record, but I can't, but I love it. It's so unremittingly bleak and suffocatingly heavy in atmosphere. The whole experience just oozes malice, from Mikannibal's deep growls to Mirai's harrowing rasp. If you could extract a physical manifestation of dread out of In Somniphobia, you'd need an aircraft hangar to store all of it. I realize I'm rambling like an idiot fanboy, just tossing around hollow descriptors left and right, but I promise you they're all true and fitting. Plus I'd have to write a damn dissertation if I were to touch on every single aspect of what makes this album so flawless (I mean, Mirai is credited for twenty one different instruments, and a helpful "et cetera" on the end). There's so much to find, it's a veritable treasure trove of mad genius, a tapestry woven of flesh and nightmares.

And that word there plays a large part of this album's tone; "nightmares". The word "somniphobia" means "fear of sleep", and knowing that really helps make yourself vulnerable to the horror within. Have you ever read the famous internet "true story" of the Russian Sleep Experiment? If not, a quick summary is that during WWII, Russian scientists decided to test the effects of sleep deprivation on five captured German POWs. They achieve this by locking them in an observation room and steadily pumping in a small amount of a gas that prevents them from sleeping. After a short time, the POWs start acting strangely, and it is later discovered that they began mutilating themselves to preposterous extremes. It is discovered that putting the men under for surgery instantly kills them, and the madness has made the pain pleasurable. It leads to some disturbing imagery and an overall unsettling atmosphere. It's a decent short story, but most importantly it really helps illustrate what In Somniphobia means to me. The deprivation of sleep leads to utter madness, and the imagery wrenched from this album is that of slimy, nasty, soul shattering madness. The thought is that sleep will kill you, and so against your sanity you must persevere through the terror you're inflicting upon yourself. The juxtaposition of the lighter elements (the light melodies and childlike whistling and clapping, for example) furthers the idea that there is a form of peace in insanity, and invites you to leave what you know behind and instead fight for the unknown and unbalanced lunacy of what's inside your own mind.

And this is the big draw of the album, the main reason it's so perfect in my eyes. It's the same reason I love HORSE the Band's The Mechanical Hand so much. Nobody will experience In Somniphobia the same way as anybody else. Yeah, we're all hearing the same music, but it means something else to each individual. The Mechanical Hand strikes me as a huge, overarching concept album about the cycle of an unfortunate and mentally broken life. Beginning with the childhood rage and confusion of "Birdo", continuing to the struggles of adolescence and early adulthood, the hypothetical narrator fights against his shortcomings and psychological trauma, eventually culminating in his mental collapse and early death, with the soothing, peaceful piano at the end of "The Black Hole" symbolizing his eventual peace in his tumultuous existence finally coming to a close. The thing is, that album has no narrator, there are no lyrical themes connecting one song to the next, and my journey is undoubtedly not what the creators intended for listeners to take away from the album. But that's what makes it so magical, that's what it means to me. That is the connection I have to the music, and how I relate the stories told to my own life, all within my own imagination. That's what makes The Mechanical Hand more than mere music, it makes it art. In Somniphobia is the exact same thing, it's art. What this album is to me, is being on your deathbed, mere minutes left in your existence, everything you'd done in your life is about to be rendered moot and nobody is there to share in your sorrow in your last moments. What you experience in your last conscious moments awake are a series of twisted hallucinatory fever dreams and nightmares from your past, all flooding back to remind you that no person is perfect, and no matter what good you've accomplished in your life, you've caused and equal amount of harm and suffering and heartbreak. In your last moments, you aren't who you used to be, you are instead broken down into fragments of what used to be a whole consciousness, now splintered and scattered across landscapes adorned with horrible, shameful memories and twisted, deplorable monsters. In Somniphobia is a journey through those last moments to me, as evidenced by the occasional punctuation of what sounds like a flatlining heart monitor, and the closing lines of "I'm sorry, but I must go now...". Was this Sigh's intent? Most likely not, but that's why it's so gorgeous. I'm not having my hand held through a linear narrative, Sigh doesn't paint picture for me to marvel at. Instead they give me a gigantic canvas and all the materials they have and say "Now paint me a picture". The sheer imagination is given vicariously to the listener, and is then allowed to project whatever twisted nightmares one can imagine on to your own psyche. This is an album that you, the listener, write as you listen to it. By experiencing and embarking on this journey, you have become the creator of your own nightmare, and In Somniphobia merely supplied you the tools.

It's the intangibles that make this album so beautiful, and that's why I could safely predict its position at the pole before the year was really even in full swing. There is nothing I don't like about this album, everything from the pacing, to the atmosphere, to the driving songs and the laid back songs and the mindboggling songs, just everything about In Somniphobia was done not only correctly, but flawlessly. I hope I don't appear to diminish the prestige by awarding my second 100% in just over a year, something I planned on doing as sparsely as possible, but anything less than the absolute highest marks would be an insult to the brilliance displayed by Sigh on their ninth full length album. Buy this album, kiss it every night, make love to it, clean up after yourself, and thank Mirai and company for the best experience you've had listening to music since the day you were born. In Somniphobia is, in a word, divine. "The Transfiguration Fear" is again, the greatest song written in generations, and "Equale" is astoundingly not far behind. For the love of everything, listen to it, I implore you. How often do you see me fanboy out quite this hard?

This was easily the most pretentious review I've ever written, (and already usurped my Wintersun review as the longest one I've written by word count) but if any record earned it, it's this one.


Originally written for http://lairofthebastard.blogspot.com/

My dreams are stupid. Where brilliant artists of all stripes often claim inspiration from dreams, I can't find any. The only time I ever had an interesting dream was when Admiral Ackbar was a minister. Other than that, it's mundane. And I've never in my life had a nightmare. I'm probably wired wrong.

So the theme of Sigh's In Somniphobia doesn't exactly speak to me. It appears to be a concept record about dreams, nightmares, and (if the title is appropriate) fear of sleep. But the music is something I can't get out of my head. Japan's premier avant-garde metallers (they can no longer lay claim to being a black metal band) have created a richly complex sonic vision that never ceases to amaze me.

The first thing you will notice about this record is that it actually has a good production. I guess the band finally relented gave the fans what they want, ditching the boombox microphone in a cave approach.

After that, you won't stop noticing things, because they're constantly throwing new things at you. Besides your standard metal setup, they also use synth, electric organ, piano, harpsichord, sax, horns, choirs, accordian, robot voice, music box, and samples. As if that's not complicated enough, the musical styles represented include black metal, power metal, sexy jazz, circus music, Middle Eastern folk, French folk, dubstep, and a chill Latin jam. Crazy, right? But that's the thing with dreams--they don't necessarily fit together or make sense.

Anything that has so much stuff in it should, by all rights, fall apart under its own weight. By some bizarre Japanese magic, it doesn't, and the band have created what could be their catchiest album to date. I don't know how they did it, but they did.

The Verdict: Many people will not agree with my assessment, and this will turn out to be one of the most love-it-or-hate-it releases of 2012. But give it a half-dozen listens, and it will work its way into your skull. Maybe even into your dreams.

originally written for http://fullmetalattorney.blogspot.com/

Everyone knows what Sigh is, but not everyone can understand what Sigh means. The sonic pictures painted by these wild and wacky maniacs remain some of the most elegantly twisted and perplexing pieces of insanity the world has ever known. Sigh has comfortably transitioned from a black metal squad to an avant-garde caravan, and with "In Somniphobia," the delirium and anxiety continues to sprawl around in its chaotic method of brain-churning psychosis. Right from the start, Sigh explains the foundations of terror within the mind's imagination, told through the eccentric Mirai Kawashima and his army of guests and friends, all just as dark and demented as his abnormal offspring. "In Somniphobia" is brisk, nutty, psychologically twisted, and explosively dynamic as any piece of avant-garde heaved by this stellar tribe of complete and utter madness.

First order of business, Sigh will always be Sigh. Weird and loopy, yet masters at their own craft. Within "In Somniphobia," the songs are expansive and totally individualistic of the overall product; from the ravishing, upbeat pounding of "L'excommunication à Minuit" to the slithering creepfest of a title track, everything is dashingly unique and simultaneously fantastic. Kawashima and his devilish muse Dr. Mikannibal contribute their collection of shrieks, chimes and growls over the shadowy colors of mental decline, both demonstrating stellar vocal performances overall. From "Opening Theme: Lucid Nightmare" onwards, the avant-garde foundation becomes lush with whatever combination of evil nutrients these nutcases water it with. "Amnesia" feels like it belongs in a noir film, with lots of creepy ambience and saxophone play hovering over the dreamy sequence. They stay weird throughout the fiery "Far Beneath the In-Between" and finally ending in a diabolical slew of organs and jazzy riffs within "Equale," a fitting end to an unusual album. We have our fair share of standard heavy slabs ("Purgatorium," "The Transfiguration Fear") following a blueprint not as imaginary and vivid as the rest of the record, but still amazingly addictive regardless.

They just never run out of surprises. Expect it all, anything from orchestral elements to sinister riffing; it's a part of Sigh's manifesto. Kam Lee of Massacre fame and The Meads of Asphodel leader Metatron contribute vocals throughout "Far Beneath the In-Between" for Lee, and "Opening Theme: Lucid Nightmare" and "Amongst the Phantoms of Abandoned Tumbrils" for the masters of the meads, respectively. Interesting contributions by both men here, surprisingly fitting as well; Metatron's vocals especially, which are weird, almost narrative-like pieces of gruff. There's also a degree of accessibility within the avant-garde ceremonies, as the album remains catchy and very special, never running on fumes or depending on the avant-garde influence for illogical additions, but instead using it in a balanced melting pot that is simply excellent. Bath salts might make one gnaw on faces for whatever reason, but tripping on Sigh is like falling into a void full of impossible realities and fictional truths, so gripping yet remarkably memorable.

Many aspects of Sigh are unpredictable, but at least we know they shall always deliver substantial content regardless of theme. Removing the crazy cameos, the saxophone sequences, the colorful keyboards, and the combination of multiple musical territories entwined within Sigh's absurdity, "In Somniphobia" would probably have been titled "Undergoing a Normal Sleep Cycle." The colorful horror of Sigh's imagination makes the macabre slab of avant-garde greatness so unbelievably addictive and fun that it isn't really fair for their counterparts. I've seen colors that have never been witnessed by human eyes, traveled down the blackened corridors of my subconscious, and find sleep to be the worst experience of all. "In Somniphobia" is the nightmare it achieves to be, not just one of Sigh's finest releases.

This review was written for: www.Thrashpit.com

From the album cover to the music within, these Japanese avant-black metal nutcases' ninth full-length release In Somniphobia is a ludicrous release. One which will frighten off genre purists, yet absolutely wow those of us who have a taste for the bizarre. I'm going to try and refrain from commenting on past releases here, I will say that some of the magic from Imaginary Sonicscape can be heard, and those who enjoyed Scenes From Hell will without a doubt love this.

Sigh's sound upon In Somniphobia is a lunatic smorgasbord of exotic delights, the foundation of their sound here is a flawless blend of thrashing, blackened 80's style heavy metal. From this base the band build up with absolutely anything they see fit, you'll find plenty of keyboards, saxophones, trumpets, as well as various types of programming, female vocals, and flamboyant arrangement. This all equates to the tip of the iceberg, as you really have to listen to this album to understand its charm and splendor. One thing that really sticks out is the band's use of exotic, eastern-style harmony and melody; obviously a result of their Japanese heritage. As a fan of J-metal this pleases me.

In Somniphobia boasts a great flow, the track listing has been arranged so that the more clear-cut tracks sandwich the eccentric filling perfectly, which works really well especially for prospective new listeners as they can be eased into the chaos. The opening two tracks are easily the most straightforward amongst the track listing. "Purgatorium" serves as a superb opening track, with some awesome riffs and quality guitar melody, with shades of the madness set to unfold almost breaking free at certain points. "The Transfiguration Fear" starts to get a little fruity on us, but for the most part plays out as a mutated eighties-style metal track, the lead guitar work is first-rate here – and is across the album – and again makes me think along the lines of eighties metal.

From "Opening Theme: Lucid Nightmare" up until "Fall to the Thrall" is where things get insane. Imagine if Pink Floyd and King Crimson decided to rape X Japan in the bathroom at a Chthonic concert? Well this would be the bastard child. I loathe using such a cliché but Sigh really do throw in everything but the kitchen sink. Fans of progressive music well definitely find something to love in tracks such as "Amongst the Phantoms of Abandoned Tumbrils" or "Somniphobia".

All in all, In Somniphobia is a fantastic, mind-melting release. As far as my tastes go there isn't anything to complain about throughout the release. No doubt a definite addition to my end of year list, and I'm sure many others will include this too. As I said earlier progressive fans will want to add this to their shopping basket right away, and fans of acts such as Solefald, Arcturus and Unexpect will also want to check this out. A wonderful, bizarre album, this comes highly recommended.

Originally written for http://www.metalcrypt.com

Catapulting from Gallows Gallery to this is to both take a step backward in time and to drive forward into unheard territory: as only Sigh can. Age is no deterant here: still plenty of personal experience aquiring the musical vocabulary necessary to invoke such images through sound. They have done this perfect invocation, surpassing all other releases in terms of odd soundscaping and seemingly virtuosic genre-jumping. There is no other band like them.

Fast thrash encapsulates this release in the beginning and at the end. And while there are some fantastic Sigh-isms in these songs, the true meat is in the middle; with the multi-sectioned "Lucid Nightmares" body of this album. Therein lies a multitude of ideas, cultures, experimenting and that ultimate amalgamation of perfect Sigh sounds that may invoke lost memories, emotions, etc. to the more experienced Sigh enthusiast. Song premonitions à la Dread Dreams are experienced after the initial jolt of unfamiliarity. (Previews of songs yet to be heard are cryptically played during the course of the entire album.) Electronic psychedelia permeates these tracks, yet not sounding as forced as on 2001's, Imaginary Sonicscapes. Everything has a reason for being there; and Mirai's synths/moog/etc. have never been so fully realised or sounded so effortless. (And Shinichi's solos/overall guitarwork is impeccable, as usual.) The only minor flaw I found was in the production of the drums on a few tracks: too triggered/compressed-sounding, but you only notice it in the faster sections.

It didn't seem possible after listening to Gallows... and hearing about their pure thrash follow-up, that they had any of that unorthodox/odd-ball sound left in them, but they have, believe me. And the Earth is a better place because of it. Expectations are surpassed in my ears, and all must rejoice in the sound of the New Era... at the forefront is Sigh.

Up to this point, I have been almost completely unfamiliar with Sigh. I heard a couple or three songs on YouTube in the past, as many do when deciding if they should delve into a band's catalog, but never actually got around to purchasing any of their albums. The most I knew was that they are known for their avant-garde approach to black metal. Needless to say, when I popped in In Somniphobia, I was in for quite a surprise.

I can't speak for their back catalog, but with this album, Sigh are pushing at the boundaries of what is acceptable to do in metal... and it works in every way. With each listen, all of the odd instrumental usage becomes more and more clear. The saxophone, the organs.... everything - it all builds up into a cohesive, nightmare-inducing whole. That's what comes to mind through the entire album. This could've been the soundtrack to a horror film. Not one of those cheesy horror films either, but the really screwed up ones that seem to leave a severe scar. The movies like "It."

Of the 11 tracks, the first two and last two are the only ones that can really be classified as true metal. They're all more guitar oriented, and deliver a contrast of viciousness and harmonious melodies. The third and ninth tracks are (oddly) the "opening" and "closing" tracks, which, in essence, do open and close up the very haunting and and eerie "Somniphobia" section of the album - this could actually have been released as its own album, and it would've worked tremendously well. It is in these songs that the haunting atmosphere is really built up, coming to its ultimate climax in "Amongst the Phantoms of Abandoned Tumbrils" at ~5:30 - ~6:20, which is truly a highlight of the entire album. The entire song builds up to this point, where the combination of Mirai's raspy vocals, the beautiful piano melody, intense drumming, and repeating riff peak out as some very haunting choir chanting unites with Mirai's vocals, slowly taking them over. The atmosphere it builds up can only be described as spine-chilling - it's the perfect climax to the "horror" sound that the "Somniphobia" section of the album worked so hard to build. Finally, as out of place as you'd think it'd be, the accordion brought in after the choirs really brings about a perfect ending to the song before it wanders off into some sound effect nonsense (which happens at the end of most songs on the album - it's largely pointless, but does no harm whatsoever).

The real winner of the album, however, is "The Transfiguration Fear." The riffing here is super catchy, the vocals are great, and all of those odd instruments that dominate the rest of the songs are toned down slightly to create a perfect balance with the guitar. Then, the way the guitar solo continues off the saxophone solo at 2:41.... purely amazing. The song is wrapped up perfectly with some Western-like whistling sound, and it really works. This song is actually so good that the rest of the album almost seems weak in comparison.

Another noteworthy aspect of the album is the wonderful work by saxophonist Dr. Mikannibal. The saxophone really dominates the album (further contributing to that "horror" sound, by the way) in a way one wouldn't expect out of any metal band, but I couldn't imagine the album without it. It's smooth and sexy as hell. It is put to its best use in the song "Amnesia," yet another highlight of the album. The saxophone work combines with the piano in a way reminiscent of old nightclub music, and the entire song has a heavy jazz feel. The raspy vocals and other instrumental experimentation turn this sexy jazz metal into a twisted, eerie, macabre incarnation of madness (then again, a lot of the middle songs could be described as that).

This album is truly "avant-garde"; I haven't heard anything this experimental in a long time. I can't imagine anybody without an open mind will appreciate what this album has to offer, but for those of you who do... you're in for a real trip. The music is experimental, complex (there are a lot of progressive metal tendencies here), heavy, and - most of all - creepy. Every track is awesome, and my favorite one seems to change each time I come back to the album. In Somniphobia is a fascinating album, and the best one I've heard this year so far. Be warned, though: this is nightmare-inducing, especially if you read the lyrics along with it.

You hardly need know beforehand yet a mere glance of the cover of "In Somniphobia" should be enough to convince of the musical insanity that lies in store for anyone approaching the latest and most increasingly avant-garde opus from Japanese individualists Sigh. Steeped in black metal history, the last few years have instead witnessed the band dive headlong into a maelstrom of theatrical keyboard accompaniments, jazzy rhythmic patterns and all manner else of musical wanderings with scant regard from where they've come. Through "Gallows Gallery", "Hangman's Hymn" and "Scenes from Hell" there was enough to declare Sigh an ex-black metal band but that declaration has now been rubber-stamped and carved in stone, if ever such a thing could actually be done.

Even now after a handful of listens over the past couple of months have I yet to get my head around probably around 90% of what is going on here - that, dear reader, is for you to do in the end - but I do know with each progressive listen it is starting to make sense that little bit more. The rasping vocals of band mastermind Mirai Kawashima and more recent addition saxophone-wielding Dr. Mikannibal and the occasional blastbeat are the only lasting remnants of extreme metal, as opener "Purgatorium" displays through its jazz-tinged verses and serene violin leads that no cessation will be made to common musical trends. That so much happens in these opening five minutes and yet there is 60 more to go is frankly daunting but the rhythmic drumming which opens the catchy and leading track "The Transfiguration Fear" help ease this process in; this is joyful, as seen in the collective hand-clapping and whistling (there's some of that here too) sense, or perhaps the subsequent reggae-tinged keys/saxophone/guitar soloing.

With the merging of mellotron, ethnic instrumentation and synth backing the influence of Brits The Meads of Asphodel (an equally loony act in their own right and direct contributor to a number of songs here) and Norwegian-black-metallers-gone-avant-garde Ulver becomes apparent in "Somniphobia", "Amnesia" and "Amongst the Phantoms of Abandoned Tumbrils" in highly engaging, if mind-boggling ways. "Far Beneath The In-Between" smoothly emerges as a soundtrack to a bizarre circus world of the ethereal and macabre, "Fall to the Thrall" is more like the Sigh of their middle-era where traditional metal instrumentation plays a larger role before "Equale" closes out in pure prog-jazz fashion with mellotron leads battling against piano for winner of 'biggest defining factor' in this stunning closing song.

I have reviewed a number of records, and read the reviews of many more from my colleagues on here, of bands who try to incorporate numerous styles into one unit, with the result often being spectacular failure. Through a production job which places enough weight on the traditional metal in the background yet emphasises the plethora of avant-garde virtuosity in the limelight, Sigh have not only increased the bar on quantity of disparate styles being accepted as an influence, but also made a stronger attempt than but all others at actually pulling it off. Don't ask me how, but sometimes the ears hear things the brain cannot compute. There will be no more eclectic release this year for "In Somniphobia" is a record beyond the normal and bears presents for everyone.

Originally written fo www.Rockfreaks.net

Sigh's "In Somniphobia" luckily turned out to be exactly what I wanted out of a new Sigh album. It seems that they've incorporated the best elements from all of their albums. Sure, there's a lot of "Imaginary Sonicscape" in there, but I also hear references to "Scorn Defeat" in some of the riffing, piano/organ work, and just the feel of some of the heavier parts. For right now, I'm totally addicted to it.

Also, there are references to their more recent works of course, and the influence from those albums has added a great level of recording techniques and psychedelia into the mix. This to me is not a bad thing as I think that the more influences they put into their music the better.

There are so many brilliant transitions between instrumentation that results in a thoroughly cohesive work. You'll have an organ/moog solo seamlessly flow into a saxophone solo and then directly into a perfect guitar solo. There's plenty of build-up in the songs that call for these transitions, and they've been done impeccably well. Sigh even one-upped themselves here, because the version of the track "Somniphobia" is more developed and well thought out than the equally awesome, albeit dirtier version that was released on "The Swine Of Hades" compilation from last year.

My recommendation is that EVERYONE pick up this new Sigh album. It's got something for everyone, and I dare say that Sigh is continuing to crank out releases that far exceed the works of their peers.

For a long time now, Sigh has experimented with the avant-garde modes of black metal. Their music is a circus of oddness, but its centre has always been powerful metal guitar work, whatever genre it hops to. Listen to the dark riffs of Hail Horror Hail's "42 49" or the groove of Imaginary Sonicscape's "Ecstatic Transformation" and you'll understand what I mean. From the start of In Somniphobia, however, a change is noticeable. Sigh have opted to place much of the focus of the guitars largely on melodic leads and riffs that are almost power metal-esque. These leads are a bit of a double edged sword. Many of them are fantastic; "L’excommunication a Minuit" has an urgent core riff and the ascending leads of opener "Purgatorium" give a sense of epicness, but the general focus on this type of guitar work gives the album less of a strong metal chassis compared to other Sigh work. Other parts of the songs thankfully step in to place to bolster the leads, however; the kick drums on "Purgatorium" and the rhythm guitars of "The Transfiguration of Fear" give the tracks a high energy gallop, and the synth riffs of "L’excommunication a Minuit" give the track a funky groove. Still, a little less lightness on the metal front would be appreciated. It creates a general sound about which I'm ambivalent; on one hand, the leads are bolstered by interesting rhythm and experimental sections often and are often highly effective, but on the other hand, I want those thick riffs! It's hard to make heads or tails of as a fan of Sigh's older work. One could call it progression, but on occasion it makes the experimental bits feel unmoored at times.

Not to say that there aren't some great riffs throughout, or that the experimentation feels wholly pointless. "Somniphobia" has some great dark riffs, and "Fall to the Thrall" has some high energy thrash riffs that break into beautiful melodies accompanied by piano that represent a beautiful fusion of crunchy riffs and the album's signature melodies and piano/synth work. "Amnesia", my favorite track, wouldn't be the same without its brooding sax and piano and the three part ending track "Equale" has some great jazzy guitar work and high energy synth riffs. Moments such as those show how Sigh know the difference between pseudo-experimental wank and avant-garde, but it's hard to make heads or tails of the album at times. The centre tracks of the album also construct the core of the concept, being flanked by an intro and outro. Though the other third of the album fit into the concept, the idea of a punctuated concept section in the centre is odd. Sigh have created an audacious beast with In Somniphobia, but it's one whose hide I can't always pierce.

In Somniphobia is a strange album full of ups, downs, and question marks. I'm ambivalent about much of it, love parts and find other parts less than pleasing ("Far Beneath the In-Between" bores me). It's fascinating nature makes it worth a listen, and it has more than a handful of great moments, but there's still something a little off about the album. Maybe that's what Sigh was looking for, but, at least for me, that oddness isn't wholly satisfying. None the less, listen to it. Even if it doesn't scratch as much of an itch of some previous Sigh records, it proves that Sigh are still one of the most consistent and relevant black metal bands operating today.

Sigh's 2010 effort Scenes From Hell seemed to arrive to a generally positive response, and I personally admired it for its primal gravitas. Gone were the bombastic, sweeping symphonic overtures of its own predecessor, Hangman's Hymn, and the newer songs were distinctly murderous and obscure, Eliran Kantor's surreal and psychotic cover art a perfect match for their aural aesthetics. With In Somniphobia, Japan's black thrashing eccentrics once again allow us to feast our eyes on one of the more visually stimulating album we're likely to experience this year, but musically I would say that it was somewhat of a throwback to the mesh of black, thrash, trad heavy metal and wild, eclectic outside influences that were so prominent during their 1997-2001 period on albums like Scenario IV: Dread Dreams and Imaginary Sonicscape, which just happen to be my favorites...

In Somniphobia resembles Scenes of Hell in that the production of the guitars and drums are not overly polished or as 'in your face' as you'll hear in a lot of modern extremes, but I'd say the actual composure of the riffs is cleaner and more accessible. There's a bit of the charging, 2007 symphonic era present in the structure of songs like "Purgatorium" or the bridge of "The Transfiguration Fear", but instead of an orchestra they are carried out with proggy organ pads and the fetching 70s hard rocking leads that were so prominent on an album like Hail Horror Hail from 15 years ago. The vocals are the same, abusively rasped incarnation that Mirai has been implementing for ages, but Dr. Mikannibal contributes her graceful accompaniments in carefully selected places through the course of the album, and certain guest features are present like death metal cult maven Kam Lee of Floridian forefathers Death and Massacre. In truth, though, while I found the vocals overall to comply with the band's modus operandi, they were not the stars of the show here...

No, that honor is bestowed to the many instances of avant-garde escapism strewn through the tracks, creating at once an exotic and familiar variety show, a circle of the sinister, silly and the gloomily macabre. From narrated, eerie orchestral interludes that descend into glitchy computer noises ("Opening Theme: Ludic Nightmare") to cutesy Eastern ethnic/ambient passages (the intro to the titular "Somniphobia") to the plucking of clean, jazzy Spanish guitars and ballpark organs ("Equale") to the scarce but effective use of Mikannibal's saxophone, you are greeted with must be one of the more worldly, scatterbrained exercises in Sigh's history. At times I felt some reminiscence for Hollenthon's debut Domvs Mvndi, at other times it felt like it was a natural successor to Imaginary Sonicscape, but what's so striking about the level of variation on this album is how it never manages to interrupt the natural flow of the song structures or the serial killer din of the black/thrash/doom riffing, vocals and lyrics.

Sigh excel at the grotesque, the weird, the left of center, while miraculously avoiding that 'forced' multi-genre-culturism pitfall that even a taut and talented act like Mr. Bungle would often succumb to. In Somniphobia is like trying to watch some colorful cult, foreign horror film while having three roommates simulcast 80s thrash, hairy progressive rock and cheesy world music on their respective stereos. It all congeals into this expansive, vicious and melodic broth of ear candy that is easily one of the more unique trips you'll be taking in this or any other season. Wonderful, batshit loco music. While I can't say I found myself quite so glued to the songs as I was on past works like Scenario IV: Dread Dreams, Hail Horror Hail, Imaginary Sonicscape or even its direct predecessor, it's an admirable addition to the band's legacy and sure to appear on or even top many year's end lists, and undoubtedly deserves to be there. Pure escapism 1 0 fucking 1.

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