Tracklist:
1. Prelude to the Oracle
2. L’art de Mourir
3. The Soul Grave
4. The Red Funeral
5. The Summer Funeral
6. Musica in Tempora Belli
7. Vanitas
8. Scenes from Hell
For years, Japanese metal band, Sigh, has awed us with a surprisingly diverse discography, touching elements from the curiously bizarre to triumphantly grandiose, while still managing to balance it with their black thrash attack. The avant-garde ensemble has moved from black metal to psychedelic to midnight waltzes with such smooth transitions that fans have been accustomed to the sudden, yet consistent changes of each respective release. However, 2007’s "Hangman’s Hymn," an album with classical inspiration, has unquestionably encouraged Sigh to delve deeper into these bombastic elements, incorporating brass and string instruments that sweep through their music like a demonic symphony.
Since “Hail Horror Hail” Sigh has managed to keep one characteristic in place: Theatrical. “Scenes From Hell” is clearly no exception, as the plethora of instruments from the trumpets, saxophones, and tubas, to the piano, clarinets and strings really carry this album while still giving room for Mirai and Mikannibal’s diabolical vocals and the soaring guitar solos of Shinichi Ichikawa, which don’t, at all, feel out of place. That is what Sigh does extremely well: They manage to blend two opposing genres that are skillfully conducted and absolutely engaging, telling a haunting story from one track to the other, showcasing their full potential in songwriting. At the very least, Sigh are tremendously talented musicians who work their hardest to make each song they record speak to the listeners while maintaining the flow of the overall album.
That isn’t to say there aren’t any flaws, however. “Scenes From Hell” is certainly a treat for longtime Sigh fans as well as newcomers who are looking for more creative music in the metal spectrum. Nonetheless, with such extravagant elements in play, one must question the production of the album. There was a past blog with Mirai where he stated the difficult task of finding the right sound for the new album, and working very hard to get the mix perfectly. The decision to keep a raw sound to “Scenes From Hell” doesn’t necessarily work as well as Mirai envisioned, as it retracts from the overall experience. While “Scenes From Hell” is miles ahead of its predecessor, the production of “Hangman’s Hymn” worked particularly well due to its crisp sound, making the orchestral elements sound demanding and powerful. Mirai and co seemed to believe that taking their new album and placing it in the vein of “Hail Horror Hail’s” production was the right choice, which may possibly be a turn-off to some listeners. The raw production worked in “Hail Horror Hail” simply because the album, although in the process of Sigh’s excessive experimentation, was still in tune with their black metal roots. This cannot be said about “Scenes From Hell” unfortunately, and Sigh hasn’t necessarily been a black metal band since “Infidel Art.”
An unfortunate decision that retracts from the experience will not take down this album very easily, however. While it will certainly be a major issue for a handful of listeners, getting used to the production might prove to be the easiest aspect when listening to the album. “Scenes From Hell,” in terms of the direction, can be described as the climaxing of an epic post-rock release, albeit a very harsh and monstrous one. After the first two tracks, which are filled with thrashy riffs and commanding orchestration, “Scenes From Hell” starts to build up with “The Soul Grave,” a sinister epic that is only the beginning of what is the peak of the album. “The Red Funeral” and “The Summer Funeral” are the climax of “Scenes From Hell” exhibiting excellent pacing and ominous instrumentation, an ode to Wagner’s depressing, yet powerful Funeral March. “The Summer Funeral” is the perfect funeral dirge that compliments the atmosphere of the whole album, creating what can only be depicted as the most grotesque funeral one will ever attend. To partner with the slow, menacing pace of “The Summer Funeral” is the crushingly heavy “Musica in Tempora Belli,” blending perfectly the beautiful string ensemble with the frantic black thrash metal Sigh is known for.
While one will still beg to question the decision to lower the quality of production in “Scenes From Hell,” there is no denying that Sigh has created one of their best albums to date. The album finishes strong, although the expectations of a final epic track is non-existent, the title track does enough to close the curtains. It may not be a “Requiem – Nostalgia” or “Seed of Eternity,” but fans will certainly feel satisfied, especially after the bombardment of powerful tracks in the middle of the album. “Scenes From Hell” is a chaotic epic that will overwhelm their listeners into submission, as it can easily be the soundtrack to the end of the world.
Since “Hail Horror Hail” Sigh has managed to keep one characteristic in place: Theatrical. “Scenes From Hell” is clearly no exception, as the plethora of instruments from the trumpets, saxophones, and tubas, to the piano, clarinets and strings really carry this album while still giving room for Mirai and Mikannibal’s diabolical vocals and the soaring guitar solos of Shinichi Ichikawa, which don’t, at all, feel out of place. That is what Sigh does extremely well: They manage to blend two opposing genres that are skillfully conducted and absolutely engaging, telling a haunting story from one track to the other, showcasing their full potential in songwriting. At the very least, Sigh are tremendously talented musicians who work their hardest to make each song they record speak to the listeners while maintaining the flow of the overall album.
That isn’t to say there aren’t any flaws, however. “Scenes From Hell” is certainly a treat for longtime Sigh fans as well as newcomers who are looking for more creative music in the metal spectrum. Nonetheless, with such extravagant elements in play, one must question the production of the album. There was a past blog with Mirai where he stated the difficult task of finding the right sound for the new album, and working very hard to get the mix perfectly. The decision to keep a raw sound to “Scenes From Hell” doesn’t necessarily work as well as Mirai envisioned, as it retracts from the overall experience. While “Scenes From Hell” is miles ahead of its predecessor, the production of “Hangman’s Hymn” worked particularly well due to its crisp sound, making the orchestral elements sound demanding and powerful. Mirai and co seemed to believe that taking their new album and placing it in the vein of “Hail Horror Hail’s” production was the right choice, which may possibly be a turn-off to some listeners. The raw production worked in “Hail Horror Hail” simply because the album, although in the process of Sigh’s excessive experimentation, was still in tune with their black metal roots. This cannot be said about “Scenes From Hell” unfortunately, and Sigh hasn’t necessarily been a black metal band since “Infidel Art.”
An unfortunate decision that retracts from the experience will not take down this album very easily, however. While it will certainly be a major issue for a handful of listeners, getting used to the production might prove to be the easiest aspect when listening to the album. “Scenes From Hell,” in terms of the direction, can be described as the climaxing of an epic post-rock release, albeit a very harsh and monstrous one. After the first two tracks, which are filled with thrashy riffs and commanding orchestration, “Scenes From Hell” starts to build up with “The Soul Grave,” a sinister epic that is only the beginning of what is the peak of the album. “The Red Funeral” and “The Summer Funeral” are the climax of “Scenes From Hell” exhibiting excellent pacing and ominous instrumentation, an ode to Wagner’s depressing, yet powerful Funeral March. “The Summer Funeral” is the perfect funeral dirge that compliments the atmosphere of the whole album, creating what can only be depicted as the most grotesque funeral one will ever attend. To partner with the slow, menacing pace of “The Summer Funeral” is the crushingly heavy “Musica in Tempora Belli,” blending perfectly the beautiful string ensemble with the frantic black thrash metal Sigh is known for.
While one will still beg to question the decision to lower the quality of production in “Scenes From Hell,” there is no denying that Sigh has created one of their best albums to date. The album finishes strong, although the expectations of a final epic track is non-existent, the title track does enough to close the curtains. It may not be a “Requiem – Nostalgia” or “Seed of Eternity,” but fans will certainly feel satisfied, especially after the bombardment of powerful tracks in the middle of the album. “Scenes From Hell” is a chaotic epic that will overwhelm their listeners into submission, as it can easily be the soundtrack to the end of the world.
9/10
Sigh's Websites:
http://www.sighjapan.com/
Myspace
