Sigh’s melting pot of musical flavours comes to the boil with Goh-ka.
For anyone unfamiliar with the long-standing Japanese trio, you can expect a smorgasbord of progressive rock, psychedelia, black metal, and folk.
And this hour-long record is a captivating ride that gives more with every listen.
The central theme is Kusōzu, a series of Buddhist paintings that depict the nine stages of a human body’s decomposition after death. Created as a meditation on impermanence and detachment from physical beauty, they offer a direct reminder that life is fleeting.
The poem Kusōshi, based on these paintings, is another key influence on the album, while the exceptional artwork throughout the cover and booklet reproduces Kusōzu itself.
Right off the bat, ‘Kuso-shi 1, 2, and 3’ showcases how brilliantly the band can blend melody with harsh riffs and ambitious arrangements. Every element, traditional Japanese folk instruments and all, has the space to breathe thanks to a pristine and punchy production. Waves of chaotic rhythms are met with euphoric vocal harmonies – and everything glistens majestically in the mix.
A notable highlight that displays the breadth of the band’s musical range is ‘Anzenshokon’. The song’s softer, meditative side evokes the essence of Camel’s ‘Song Within a Song’ and Black Sabbath’s ‘Planet Caravan’, while the heavier side of things is reminiscent of Celtic Frost, Opeth, and Ghost. Speaking of Opeth, none other than Mikael Åkerfeldt provides a guest guitar solo on ‘Unputenpu’.
While it’s easy to make comparisons, Sigh undoubtedly have a sound and artistic vision all of their own – and it’s one well worth exploring before you enter Kusōzu’s inevitable nine stages.
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Dan Aston | Now Spinning Magazine
