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Monday, July 23, 2012
Wednesday, March 28, 2012
The only way I can describe this album is "Imaginary Sonicscape meets luchador movie soundtrack". Sure, the band has worked with 60's-70s Psychedelia/Progressive Rock sounds before, but they went all out in this album. The synthesized parts, along with the catchy melodies and amazing drum work makes this a quite unique listening experience. That's not to say that they have forgotten about their Black Metal roots, as there is still a lot of abrasive vocals and atmosphere, but the more experimental aspects, like the saxophone and piano con Amnesia and the all-out, almost Symphonic Metal assault of Purgatory seem to take the spotlight on this album. The Transfiguration Fear, which is my favorite track on this album, has to be one of the most amazing Metal songs I've heard in the past ten years. It has all the trip-inducing sounds that I loved from Imaginary Sonicscape but takes them to a whole new level with epic choruses, amazing guitar solos, and my all-time favorite gimmick: HAND CLAPS!!! There is something dead inside of you if you don't feel warm and fuzzy inside while listening to this song.
I've always thought that Sigh were closet Mr. Bungle fans, and it is pretty evident on this album. It's not like they're trying to rip off Mike Patton in any way, but the way that they are working with synths, vocal effects, and the overall odd arrangements throughout the album seems like a nod to Mr. Patton's work rather than trying to be weirder than Arcturus. Still, this is a pretty accessible and catchy album, one that does not sacrifice their experimental nature in favor of watered-down songs. Sigh is one of those bands that always blows my mind when I least expect it. Granted, sometimes they do tend to go way overboard on their albums, but they finally managed to find the perfect balance between writing forward-thinking music and not alienating their listeners. This is by far my favorite album of the year. GET THIS SHIT NOW!!!!
Tuesday, March 27, 2012
This album is fucking amazing. It has all the elements from their "weird" era (the 94-98 album arc composed by Fear, Emptiness, Despair, Diatribes, Inside The Torn Apart, and Words from The Exit Wound) mixed in with the speed and abrasiveness of their last five albums. John Zorn makes a brief appearance on the album, but his part feels like an integral part of the song he's in (Everyday Pox) instead of a random guest spot. The rest of the album implements a wide array of dissonant riffs and slower-paced grooves along with more frenzied songs. Nom De Guerre has to be one of their most intense songs ever recorded since Antibody. The rest of the album integrates all the elements from their most experimental songs and mixes them with their most aggressive elements in a way that almost makes the album sound like a comprehensive collection of everything the band has recorded to date.
Utilitarian might be a bit too much for those of you who are not familiar with the band, but that doesn't mean that you should stay away from it. Give it some time and it will slowly grow into you like tuberculosis. This is not only one of the most thought-provoking albums the band has ever recorded, it is one of the most daring, forward-thinking albums you can find on the genre right now.