Reviews: Fallujah, Sigh, Minus Ten Thousand Hours, Aniimalia (Reviews By Richard Oliver, David G, Matt Bladen & David Karpel)

Sigh – Shiki (Peaceville Records) [David G]

If there has been a word to describe Sigh’s output it would probably be theatrical, and whilst I can’t say that has always worked it has always been interesting. With Shiki Mirai Kawashima’s fear of ageing and death is explored and naturally that sense of the theatrical has a pivotal role. What makes this release feel more fleshed out than other albums in the band’s catalogue is rather the fraught emotion that arises in particularly challenging and unnerving moments has a sense of authenticity. That fear really translates, as does anxiety, and anger. 

Following the introductory throat-singing, Kuroi Kage is a fascinating opener, beginning with a sinister warped note, and lethargically stuttering into a dull loop. Then comes the pregnant synth pause before the riff slams back in with Mirai’s hysterical rasp. Eerie and uneasy, a recurring theme. Naturally it is hardly surprising that this finally gives way to the kind of rock influenced guitar lead one would expect from the more melodic side of this band. Then obviously blastbeats. And jazzy saxophone. And soft, airy singing. It sounds scattershot, something you could possibly have accused Sigh of in the past, but instead there’s a cohesion here, a flow that makes these transitions quite believable. Shoujahitsumetsu reminds us of the band’s origins in primitive black metal, all howls and snare (and a really sick punk-styled bass run). 

Of course, it’s not long before things become more speed metal tinged with a glorious sweeping solo to boot. I’m only two tracks into explaining this and I feel quietly impressed at the way this hangs together. So yes, the theatrical again; there is melodrama however it feels like there’s a greater sense of emotional authenticity at play. There’s a definite emotional thrust in these early stages with a track like Shikabane, that becomes increasingly tense and anxiety-ridden as it lurches along, to a point where it almost falls to its knees pleading. Satsui – Geshi No Ato leans more into the theatre but reminds just how vocally diverse this troupe gets, from one part that sounds like someone furiously spitting venomous dialogue with themselves in the mirror, to a few lungs full of chanting that create an expansive feel. 

There’s something in the application of the voice in a Sigh song that feels exciting. Partly that is down to the willingness to try different things, but more than that is the feeling that there is a depth into which the vocals take hold in the structure and dynamics; they can push the song along, they can lift it from the depths into a state of calm, they create a container that encompasses. The richness of texture applied here goes even beyond their past efforts. Naturally twists and turns keep coming, Shouko probably sounding the closest to a cut somewhere between Gallows Gallery and Hangman’s Hymn that has the precision and aggression, but also gives us the organ flourish and a wonderfully melodious lead (accompanied by brilliant bass drum spikes as it closes out). 

Check out Fuyu Ga Kuru if you’re hoping for a wonderful Maiden-esque riff that on its reprise is backed by bongos, and then you get more bongos in a four-car collision with the saxophone, synth and what I can only describe as throat-singing-lite. Doomy struggling chord progressions leading into a flute section? Mayonaka No Kaii will do that, and more besides. I find it exciting that Sigh have reached this point, and that’s not to detract from previous albums as they all have significant qualities and quality. 

This is the first time I have sunk myself into one of their albums and I feel myself living with it in the moment. I don’t think it is wild to suggest that the music we hold dear is about the experience, be that the experience in our life when we encounter it, or the experience it gives us. From that perspective it would be remiss of me not to say that this album and its theme is timely in a couple of ways, it becomes harder then to separate the personal from the music in that space even with the language barrier. But trying to take it on its own merit, and shelve “my stuff”, I still think it is fucking brilliant. 10/10

Aniimalia - Pressure Points (Marshall Records) [David Karpel]

There’s something about metalcore that sounds like it's stuck in seventh grade, like it wants to be treated like an adult but also be able to act like the child it no longer is. So, maybe it’s just me, I don’t know, but when I see that descriptor I’m not enthused. There’s an audience for it, though, so let’s get on with a listen. Aliens starts us off with exactly what you’d expect. Some promise of headbanging transitions to a few verses of clean vocals building to a catchy chorus that pays off the promise in the most unsurprising way possible. 

Still, while Aniimalia can crush a groove with technical precision and all the emotive power of a tween’s cloying crush, Kira Beckett can sing well and even wail and carry a catchy chorus. Her vocals are super clean in the mix and they are the saving grace of the EP as a whole. Essentially this is a collection of pop songs with some typical open chord chugga chugga breakdowns and some average drumming. Honestly could not be less excited about a release, but if bubble gum metalcore is the taste you want to chew for a while before spitting one out for another, this might be your next piece. 5/10