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Sigh Infidel Art album cover
3.60 | 22 ratings | 2 reviews | 23% 5 stars

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Studio Album, released in 1995

Songs / Tracks Listing

1. Izuna (08:16)
2. The Zombie Terror [symphonic version] (09:43)
3. Desolation [symphonic version] (08:03)
4. The Last Elegy (10:30)
5. Suicidogenic (04:46)
6. Beyond Centuries (09:38)

Total Time: 50:56

Line-up / Musicians

- Shinichi Ishikawa / electric & acoustic guitars
- Mirai Kawashima / bass, keyboards, vocals
- Satoshi Fujinami / drums, percussion

Releases information

Artwork: Utagawa Hiroshige (XIX cent.)

CD Cacophonous Records ‎- NIHIL 7CD (1995, UK)

Thanks to morpheusdravenfuid=morpheusdraven for the addition
and to Quinino for the last updates
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SIGH Infidel Art ratings distribution

(22 ratings)
Essential: a masterpiece of progressive rock music(23%)
Excellent addition to any prog rock music collection(41%)
Good, but non-essential (27%)
Collectors/fans only (9%)
Poor. Only for completionists (0%)

SIGH Infidel Art reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Infidel Art is the second studio album from Japanese experimental extreme metal act Sigh. Sighīs debut album Scorn Defeat ( 1993) was a strange mix of old school eighties euro thrash metal like Kreator, Celtic Frost, Destruction and Sodom and a few symphonic elements. I wasn īt too impressed with the primitive outcome which was to be frank a bit laughable at times ( at least I had a hard time taking it serious). Infidel Art continues down the same path when weīre talking general sound and style but the quality of the songs is much higher than on Scorn Defeat and therefore this album does impress me slightly more.

The metal parts on the album are still very primitive old school eighties euro thrash ( Several times Iīm reminded of Endless Pain by Kreator) and pretty average at that but what is great about the songs are the many classical symphonic parts which are created by piano and keyboards/ synths. Sometimes those parts are really beautiful and well composed as well. With titles like Suicidogenic and The Zombie Terror itīs not hard to imagine which kind of lyrical themes Sigh has worked on for Infidel Art. Thereīs also a slight horror element in some of the keyboard parts on the album. Thereīs even some symphonic rock parts on the album like the ending of Desolation. The vocals on the album is mostly black metal rasps or rather rough old school thrash metal vocals. Iīve read some places that Sigh is black metal which is true to some extent but I think itīs important to note that they have more in common with the earl/ mid eighties euro thrash metal style than actual black metal. At least on this release. They usually donīt play very fast either. No blast beats on this album ( not that you canīt play black metal without them of course). Iīve seen Sigh compared to both Mayhem and Darkthrone which I have a hard time hearing.

The musicianship has become better since the debut but I still miss some bite and interesting riffs.

The production is allright. The metal parts donīt always sound too good but the keyboards and synths sound great IMO.

Infidel Art is a hard album to rate as it has many great parts but also feature some pretty average metal riffing that brings the album down a bit. I still feel that itīs a highly inventive album though and will stretch and give Infidel Art 3 stars. Itīs not a personal favorite but still a very interesting album.

Review by Conor Fynes
4 stars 'Infidel Art' - Sigh (7/10)

Sigh is undoubtedly one of the strangest, and most inventive metal bands I have come across. With each album, they reinvent themselves in unexpected ways, leaving no stone unturned as they make their way. Although Sigh is often labelled as a black metal group, they are probably best simply described as being 'avant-garde'; their music and approach always changes, but their ambition and originality stays consistent. The first album of theirs, 'Scorn Defeat' (along with a handful of demos) stuck to a thrashy black metal standard, content to mirror their European contemporaries with the same sort of raw riffs and primal delivery that the genre of black metal is best known for. 'Infidel Art' sees a big evolution for the band, and a step towards the more ambitious material they would be known for in the future.

'Infidel Art' sees the band teetering between the forward-thinking, and the formulaic. Sigh's work here can be roughly split into two sides; half of the time on the album is devoted to a sound of blackened thrash that only differs from the demo material by an improved sense of production. The speedy riffs and energy of the band is enjoyable and while not having the same grasp of atmosphere like contemporaries Mayhem or Emperor had with their black metal sound, it is fairly well performed and nicely heavy. It's the other dimension of sound on 'Infidel Art' that I find to be the more interesting though; even early on, Sigh were not afraid to test the boundaries of their style, and this would be taken to new heights with the addition of strange symphonic elements in Sigh's makeup. Sometimes, these symphonic sounds- which typically fall back on a keyboard emulating a string section or Japanese woodwind- are meant to compliment the existing black metal sound by whistling along with the guitars and drums, but Sigh hits their peak here when the symphonic elements take over. I was very surprised to hear the complexity of the orchestrations that Sigh composes and carries out here, especially at the end of the highlight 'Desolation', there is a long section with a dramatic cinematic flair that almost feels as if it could have been plucked from a Sergio Leone film. Sigh also works with some scarce clean vocals here on top of the more metal leaning rasps, and they are quite warm and well-done.

One thing that continues to irritate me about 'Infidel Art' however is its somewhat scattered feeling. There are great ideas everywhere here, and it has some remarkably interesting things to offer, but as a whole, it suffers from a bumpy consistency. When I hear such great things as 'Desolation' or other places where Sigh works their symphonic magic, it can get monotonous to hear them focusing on their metal element for a little too long here and there. Sigh typically has a feeling of randomness in their music, and I get that sense here as well; although each aspect has alot of individual potential, I sometimes ask myself if the way they try to combine the different sounds in the album is always effective, or rather contrived.

A very good album for Sigh, as well as an early sign of what could really be done with black metal once its musicians started looking outside the box.

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