Sigh are a Japanese avant-garde black metal band. In Somniphobia is one
of the most intriguing metal releases I’ve heard this year.
Besides the prominent saxophone (which varies from seductive to jazzy),
a host of other instruments join the usual metal instrument contigent of
guitars, bass and drums: an Indian instrument called a Sarangi, Indian
percussion, bongos, violins, piano, accordion and what sounded like a tuba.
Purgatorium begins the album
on a thrashy note. Black metal rasps sit happily alongside trilling keyboards
and NWOBHM-style guitars. A lovely piano and violin interlude balances the fast
pace of the song. Other guitar highlights are the great solo and harmonies.
Bongos and clap beats are included in The Transfiguration Fear Lucid Nightmares. The former adds a great
rhythm to the chorus. The clean female vocals mix well with the black metal
rasps, with the latter’s being low in the mix adding a good contrast to the
clean vocals without overpowering them. The saxophone makes its first
appearance, and fits in harmoniously with the other instruments. The
traditional metal instruments are also low in the mix, which prevents this song
from sounding unwieldy. One of the biggest strengths of In Somniphobia is the
songwriting and mixing. Despite the myriad musical elements, the songs on this
album sound cohesive, and the mix amply accommodates all the instruments; all
having breathing space.
In contrast to most of the songs’ high energy, mellow interludes or
codas of odd effects are included. Lucid Nightmare begins with ‘spacey’
effects, while L’Excommunication a Minuit,
Far Beneath The In-Between and Amongst the Phantoms of Abandoned Tumbrils
end with a bunch of effects which transport one into a strange dream. The
latter song is one of the most ‘metal-sounding’ tracks on an album which
stretches the boundaries of what can be considered ‘metal’. Phantoms is a black metal-esque number
with harmonised guitars and medieval trumpets. A reverb-laden guitar solo
reminded me of the legendary guitarist-singer-songwriter Carlos Santana, one of
the first artists that inspired my love of guitar-driven music. The closing
track Equale (a. Prelude, b. Fugato, c.
Coda) opens with Santana like riffs.
NWOBHM-style guitars and harmonised riffs appear frequently on the
album. These traditional metal elements give a more down-to-earth feel to the
often-trippy, grand compositions on In
Somniphobia. Although choirs and classical instruments have often been
mixed with heavy metal, they don’t sound clichéd at any point, and add
atmosphere to the tracks. Lovely layered violins and a trippy piano part
feature on Far Beneath the In-Between. The
piano part ends on a baroque, echoing note. Delicate piano and lamenting
guitars combine on Fall to the Thrall.
Also-delicate harp parts add contrast to the faster parts of Equale.
In Somniphobia is a multilayered
and grand body of work that is one of the most interesting directions taken in
within the realms of heavy metal. Grandiosity without heading into ostentatious
territory is this album’s highlight.
Personnel: Mirai Kawashima – vocals, keyboards
Dr. Mikannibal – saxophone, vocals
Shinichi Ishikawa
– guitar
Satoshi Ishikawa –
guitar
Junichi Harashima -
drums
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