(groverXIII reviews the new album from Japan’s Sigh, which will be released in North America on March 13 by Candlelight Records. The cover art is by Eliran Kantor.)
I don’t listen to a lot of black metal. That is, I don’t listen to a lot of straight-up black metal. I like my black metal to be experimented with, diluted, wrapped around electronic melodies (Thy Catafalque) or folky weirdness (old Finntroll) or prog (newer Enslaved). So, although I am a big fan of In Somniphobia, the newest release from Japanese black metal weirdos Sigh, my experience with them to date only goes back to their Gallows Gallery album.
I’ve been meaning to go back further, as I understand that they really started to experiment with their sound fairly early on, but I have too much music to listen to as it is. What I have heard, I have greatly enjoyed, and the three albums that I’ve listened to previously have all had their own interesting sounds, from the eclectic jazz-and-power-metal-influenced Gallows Gallery to the orchestral thrash of Hangman’s Hymn to the all-out orchestral insanity of Scenes From Hell.
Considering how different all of those albums are in relation to one another, I had no idea what to expect from In Somniphobia, but I suspected it was still going to be pretty fucking good. And I was not disappointed.
My biggest concern for In Somniphobia was the production. Scenes From Hell was a great album filled with real symphonic instrumentation, but it was hamstrung by an awful mix, where everything was compressed and flattened all to hell. It was still a well-written, interesting album, but what should have been an open, dynamic album instead felt somewhat lifeless. Thankfully, In Somniphobia does not suffer from the same problem. The mix isn’t perfect, sure, but it’s still a major improvement, and the album is that much the better for it. Continue reading »