Sigh’s "I Saw the World’s End – Hangman’s Hymn MMXXV": A Deep Dive into the Reimagined Classic
For over three decades, Japan’s Sigh has been a formidable force in the black metal scene, known for their audacious experimentation and genre-blending sound. With a discography that spans twelve albums, they have continually pushed the boundaries of what black metal can be. Their latest release, I Saw the World’s End – Hangman’s Hymn MMXXV, marks a significant milestone as it revisits their 2007 album Hangman’s Hymn. This re-recording not only celebrates their 35th anniversary but also reflects a desire for improvement in execution and production.
The Journey of Sigh
Sigh’s evolution is nothing short of remarkable. From their traditional black metal roots in Scorn Defeat to the avant-garde explorations in Imaginary Sonicscape, and the progressive metal elements in Shiki, each album showcases their willingness to innovate. With I Saw the World’s End, frontman Mirai Kawashima aimed to breathe new life into an album he felt didn’t fully meet the band’s standards.
Opening Chaos: “Introitus / Kyrie”
The re-recording kicks off with “Introitus / Kyrie,” a track that embodies the chaotic essence of Sigh. The frenetic energy is palpable, with a guitar solo that ignites the senses. The vocals, comically evil yet fitting, set the tone for the madness that follows. This track serves as a powerful reminder of Sigh’s ability to blend chaos with melody.
Thrash and Orchestration: “Inked in Blood”
Following the explosive opener, “Inked in Blood” continues the momentum with its insane riffs and bombastic orchestral elements. The blend of aggression and melody is seamless, showcasing Sigh’s knack for creating a rich sonic landscape. The orchestral backdrop enhances the intensity, making it a standout track.
Transitioning Styles: “Me-Devil”
“Me-Devil” exemplifies Sigh’s ability to transition between aggressive and melodic sections. The restructured album features “Dies Irae” and “Overture” as separate interludes, adding depth to the listening experience. “The Master Malice” follows, showcasing a livelier sound, partly due to the impressive vocal range displayed throughout.
Drumming Excellence: Mike Heller
One of the most notable improvements in this re-recording is the drumming by Mike Heller. His performance elevates the overall sound, providing a solid backbone that complements the intricate guitar work. The drumming feels more dynamic, enhancing the album’s energy.
Fast-Paced Frenzy: “The Memories as a Sinner”
The track “The Memories as a Sinner” introduces a fast-paced, thrash-inspired sound that highlights Sigh’s versatility. The frantic riffs are a testament to the band’s ability to keep listeners on their toes.
Grandiosity in “Death with Dishonor”
Starting with an epic orchestral intro, “Death with Dishonor” thrives on its grandiosity. The track feels more expansive, with the guitar riffs taking center stage. While the orchestral elements are still present, they are slightly toned down, allowing the guitars to shine.
Fun and Frenzy: “In Devil’s Arms”
“In Devil’s Arms” is a fun track that kicks off with an engaging lead guitar intro. The playful nature of this song is reminiscent of Sigh’s earlier works, particularly Hail Horror Hail. The infectious energy makes it a delightful addition to the album.
Intensity and Epicness: “Rex Tremendae / I Saw The World’s End”
Following the second interlude “Overture,” “Rex Tremendae / I Saw The World’s End” delivers an intense experience. The epic grandiosity is palpable, making it a fitting centerpiece for the album.
Ruthlessness in “Salvation in Flame / Confutais”
The track “Salvation in Flame / Confutais” is another aggressive offering that radiates a sense of triumph. The guitar solo stands out, showcasing the technical prowess of the band. Notably, the yodel-esque background vocals from the original have been omitted, giving this version a more streamlined feel.
Triumphant Closure: “Finale: Hangman’s Hymn / In Paradism / Das Ende”
The album concludes with “Finale: Hangman’s Hymn / In Paradism / Das Ende,” a fitting end that encapsulates the essence of Sigh. The aggressive riffing, bombastic symphonies, and shredding solos create a climactic finish that leaves a lasting impression.
A Balanced Production
Overall, I Saw the World’s End stands as a well-executed re-recording that respects the original while enhancing its strengths. While some fans may miss the orchestral elements of the original, the livelier guitar work and balanced production make this version a worthy listen. The aggressive thrash riffs, dynamic vocal range, and intricate solos blend seamlessly with the orchestral elements, creating a rich auditory experience.
I Saw the World’s End (Hangman’s Hymn MMXXV) is out now through Peaceville Records, and it serves as a testament to Sigh’s enduring legacy and their commitment to pushing the boundaries of metal.
