Sigh, Hail Horror Hail - 51m 33s

Tracks & Durations

1. Hail Horror Hail	5:07
2. 42 49	7:43
3. 12 Souls	6:56
4. Burial	1:30
5. The Dead Sing	7:14
6. Invitation To Die	5:17
7. Pathetic	2:21
8. Curse of Izanagi	6:01
9. Seed of Eternity	9:18

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

Ever since their beginning demos and even up to their debut album Scorn Defeat, originally recorded for Deathlike Silence Productions in 1993, Sigh have never actually fit into the black metal paradigm. While the music reflected their love of Bathory and early 1980's thrash and black metal, the lyrics, themes, and images were always based on their country's culture, or occult traditions. Sigh were always there to rebel against any pre-concieved notions of what black metal was suppose to be, carving their own blend and brand of distinct music, but always with a black metal flavor. While Infidel Art (1995), and Ghastly Funeral Theatre (1997), disrupted the traditional black metal formula by introducing more avant-gardisms into the music, it wasn't until Hail Horror Hail (1997) that the band completely shattered the black metal ideal. That album, while retaining Mirai's shrieking vokills and the band's ongoing onslaught of old school blackness, interjected sound-effects and completely different genres of music in a cut and paste Naked City/John Zorn fashion. It was a new attempt at making the audio equalivent of a film. Just like in film when scenes and locations abruptly jump, Sigh did the same with Hail Horror Hail. Moving from black metal to classical music to jazz, to sound effects, all deliberately inserted within the same track, Sigh created what they dubbed " a movie without pictures, a celluloid phantasmagoria." Since then Sigh have only gotten stranger, only pushing themselves to create original and challenging music, which they have achieved once again with Imaginary Sonicscape, the band's debut for Century Media and first for North America. 2004.

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