. . .
There’s no getting around it: In Somniphobia is weird. But it’s the kind of weird you can get cozy with, once the foreignness subsides. There are so many musical sounds, textures and genres represented here — it just wouldn’t be fair to write it all off after a single listen. Sigh are fearless artists.
The opening track, “Purgatorium”, is about as flashy as it gets. The same synths that Children of Bodom abuse to the point of nausea are also employed on this album, but to different effect. Sigh weave gaudy melodies into a dark final product. In the same way that a clown’s aesthetic can be eerie, so are each of Sigh’s merry melodies. These melodies should make us happy, but instead they are sinister.
Sounds of machinery going haywire, maniacal laughter, plenty of non-traditional instruments, Satyr-esque vocals, and those crazy synths. How do combinations like this even work? It’s an absurd concoction that appeals to a curious ear. Just as we start to question a particularly weird passage, Sigh pull us back in with a melody that’s too good to deny. By the third or fourth listen, the quirks are endearing. “Amnesia” is eight minutes of sultry jazz with unhinged vocals — the soundtrack to a blackened burlesque show in a funhouse, perhaps. And yet, the reverbing voices and piano additions make it comforting, in an “I’m not sure what I’m hearing, but I like it and can’t stop listening…” kind of way.
Sigh may be adept at the avant-garde, but it’s the biting riffs on “Fall to the Thrall” that really carry this album. After eight tracks of strangeness, a bona fide riff sounds almost shocking. It makes me wish Sigh would be more liberal with guitar-driven passages. By the end of In Somniphobia, I’m craving the thrash and the crunch. But of course, after a short burst of heavy, the final track begins with some jazzy smooth elevator music. Back to the strangeness. I think I understand this band’s name now.
. . .
HEAR IN SOMNIPHOBIA
. . .
Sigh – “Somniphobia”
. . .
BUY IN SOMNIPHOBIA
Candlelight Records USA (Preorder, release date TBA)
. . .
Good review. It effectively communicates just how weird they are. I’m not sure I understand your last sentence, though.
He’s probably sighing as he’d wish they played the heavy card more often, I guess.
I like a good deal of their stuff, but always end up being kinda put off by their general goofiness. It doesn’t help that the only time I saw them live (Brutal Assault 2010 in Czech Republic), the sax player accidentally set the stage monitors on fire.
Possibly.
On the band themselves, before this one I’ve only really listened to Scenes from Hell, and it was plenty heavy. Much heavier than the new one. And I love the way the brass sounds with it. It really grew on me over the last couple years, but the production is still a little crappy for my taste. The new one has better production, but yes, the heavy is sorely lacking.
“He’s” probably sighing because “he” has such a girly name.
My bad, didn’t read who wrote this.
Yes, that’s what I was going for.
Imaginary Sonicscape remains my album du jour by Sigh, so if this is in a similar vein then I think we’ll get along famously.
I get his comment about it being “comfortably weird” though. It’s almost a relief to know I won’t “get” a lot of this, so I can just enjoy the psychedelic ride and see what comes of it at the end.
As far as Sigh goes for me, with the exception of Imaginary Sonicscape, I have heard time getting through an entire Sigh album in one sitting. They have some great tunes on the other ones, for sure, but I can’t experience it all at once.
That’s all changed now, though, with In Somniphobia – this album is just brilliant. In a time in my life where I’m having trouble getting in to newer music, even from tried and true artists that I’m familiar, this album was a welcomed addition. Its a nice fun ride through a themed middle section with some interesting space between the tracks that feels like you’re watching some surreal Asian cinema, all bookended on some fun metal on either end. I love it.
I picked this up today. I am so psyched for my hour long commute tomorrow!
Shinichi is a painfully underrated guitarist. His leads in songs like A Sunset Song are a big part of what made Imaginary Sonicscape so amazing (taking them out of Bring Back the Dead for the rerelease was a crime). I love Gallows Gallery for the same reason.
The album was just released on the Candlelight Records Bandcamp. I added it to Metal Bandcamp >herehere<
That went well… Here are the links again:
In Somniphobia link
Scenes From Hell here
Just heard this today, following a recommendation from Adrien Bergrand. Wild, fun stuff — disturbing and theatrical, and reminds me more than a little of stuff like Mr. Bungle. But I couldn’t get through the whole thing in one sitting. It’s just too much!
My favorite Sigh album will always be Imaginary Sonicscape. I actually enjoyed them more when they used to be all weird and shit. Put this on, pack the bong, turn off the lights, and enjoy.
http://www.youtube.com/watch?v=f9-WwDWh9fo&feature=related
Fucking rad artwork there. Lazy designers who make album covers with Photoshop should have their computers rammed up their asses.
Agreed, that artwork is perfect. As for the album… I’ll keep my mouth shut. But the artwork inspired several attempts to listen through it, which has to count for something.
I wonder if anyone here at Invisible Oranges will review the brand new Spawn of Possession.
Of course now I wonder if I’ll take any greif for recommending some “tech-wank.”
I could probably give it a micro-review next time around. Long story short: not my cup of tea.
No shame or grief for liking tech, though. Who gives a fuck what’s cool anyway?
Nice write up! The first three paragraphs paint an exceptional vision of the band’s output to date.
One of my favourite bands…and this album is probably my favourite album in recent years. It’s spectacular, I doubt anything will top it for me this year.