Experimental Japanese metal band Sigh are entering that period of life where they are celebrating significant milestones in their recording career.
Infidel Art is their second album and is celebrating its 30th anniversary and I would say that the passage of time has done nothing to dull its experimental edges that seem to lurch from lane to lane at whim. This release consists of a new master of that second album, plus a ‘1st mix’ plus extra tracks that pull from Split singles and from the Far East Gate In Inferno compilation.
Now I’m assuming that for some of you, this is going to be quite the thing. For me, I cannot discern between the Remaster and the 1st mix and therefore my review will be based around those Remastered songs which comprise disc 1.
Did I mention that these songs are long? Of the 6 tracks, only one falls under the 5-minute mark….
Izuna grinds into play with a lo-fi vibe and from the off its apparent that Sigh are operating on a differing frequency from everyone else. It flies along, breathlessly and it is the very epitome of rough. I can only wonder how this was received back in the day. Riffs speed up only to slow to an almost dead stop and then they throw piano into the mix.
Now I’m assuming that for some of you, this is going to be quite the thing. For me, I cannot discern between the Remaster and the 1st mix and therefore my review will be based around those Remastered songs which comprise disc 1.
Did I mention that these songs are long? Of the 6 tracks, only one falls under the 5-minute mark….
Izuna grinds into play with a lo-fi vibe and from the off its apparent that Sigh are operating on a differing frequency from everyone else. It flies along, breathlessly and it is the very epitome of rough. I can only wonder how this was received back in the day. Riffs speed up only to slow to an almost dead stop and then they throw piano into the mix.
Don’t be mistaken that this isn’t structured, it is. Every step is measured in the way that they change tack, such dropping in clean singing two thirds of the way that allows them to change the arrangement to suit. There is a repeating measure that is employed as the grounding device that everything else springs from and so there is a plan, just one that might not make sense to those outside the band.
Now, I’m going to be dead honest. There is no way I’m going to listen to the 1st mix version of these songs. I don’t have the inclination, and It would further colour my review in a negative manner if I did. This is a chaotic album, one that jumps around to suit its masters wishes. Initially, it feels exciting but that doesn’t last. Repeated ideas and track lengths that drag on soon start to grate on you.
The Zombie Terror is next and keeps that low-key vibe in place. Its on here that their experimental touches start to take more precedence. What they don’t forget is to bring the riff-ola and in some ways is them at their most accessible. Like Izuna, there is a plan of how this song is going to be played out.
Guitars fall away as piano and wind instruments come in and what it does remind me of is the soundtracks to the Italian gut-munchers of the early 80’s. Don’t worry, those fizzy guitars aren’t away for long and they are back on track. Basically, they re-tread the same notes after a period, now expanding that melodious instrumental passage that has taken on a more space-age feel to it. It’s this that makes it such an engaging track, one that has changed beyond recognition by its end.
Desolation takes a different, classically led path, one that is all theatrical swells and movements before being crushed under the feet of a grinding guitar. Vocals come in and out and after that outstanding start it falters under a tepid pace. Again, it’s taking its cues from Science Fiction and Horror flicks but without actually going anywhere. The Last Elegy almost follows the same introductory path as Desolation, with its classical start followed by those scratchy guitars. In all honesty, the two bled into each other, such was the similarity between them.
Desolation takes a different, classically led path, one that is all theatrical swells and movements before being crushed under the feet of a grinding guitar. Vocals come in and out and after that outstanding start it falters under a tepid pace. Again, it’s taking its cues from Science Fiction and Horror flicks but without actually going anywhere. The Last Elegy almost follows the same introductory path as Desolation, with its classical start followed by those scratchy guitars. In all honesty, the two bled into each other, such was the similarity between them.
Both share a slow build, but at least The Last Elegy has an effective riff set going on. What I didn’t expect was that this would be as dull as it is. I guess in some respects that these two tracks could represent a book ended tale, but neither have enough to justify run times of 8 and 10 minutes respectively. The Last Elegy is content to repeat itself and because of this I’m losing interest. Suicidogenic continues in the same manner, albeit in a shorter format. This works in their favour, the shortened runtime adding a sense of urgency to it leading to a frenzied build and is a welcome approach.
Beyond Centuries is the last stop for disc 1 and has work to do. It’s a promising start, a heavy arrangement following their now soft start. The gothic measures are quality and give it a certain gravity. I’m going to call them out on its length though because it does drag when it didn’t need to. There are some good riffs in here, but they don’t make them a central part of the song. Its just a tool, part of their sonic kit bag same as the piano etc. Ending at speed, the wheels do fall off as they collapse to a close and its done. Over.
Now, I’m going to be dead honest. There is no way I’m going to listen to the 1st mix version of these songs. I don’t have the inclination, and It would further colour my review in a negative manner if I did. This is a chaotic album, one that jumps around to suit its masters wishes. Initially, it feels exciting but that doesn’t last. Repeated ideas and track lengths that drag on soon start to grate on you.
Again, this is a 30-year-old album, and if you loved it on release then my opinion is not going to matter a jot. This release will at least make it more readily available and if you are a fan of experimental metal then this could be up your street. 6/10
Suffering - Things Seen But Always Hidden (Apocalyptic Witchcraft) [Joe Guatieri]
Suffering are a Black Metal band based out of England who formed in 2018. They have had a consistent but small output so far, coming out with their first full-length 11, which came out in the year of their birth. They then went on to release two EPs alongside quite a few singles within a four year stretch and now in 2025, they come back in full force with their latest LP, Things Seen But Always Hidden.
The record opens with The House With The Red Door and this title is put to good use as the song does indeed sound like the start to a horror movie. Rainfall scatters the scene over a big commanding mansion in the middle of nowhere.
Starting off with sweeping yet dissonant acoustic guitars entangling with each other, to slowly reveal a mirror but what staring back at you, isn’t your reflection. The organic instrumentation is fucked with by distortion and thrown back in front of your eyes a monster to your surprise, making your skeleton jump out from your skin.
The classic Doom Metal strikes then make their presence known before blackened blast beats drip down onto your head like hailstone. The guitars wash over you in their attack and the toms create a permanent sense of dread.
This is followed up with track two, Enthralled. Now I don’t say this often but I can only describe the riff in this song as epic, it’s like the crescendo of an orchestra, something about it just speaks to me like a classic piece of music.
It’s the work of the yin and the yang as the rest of the song is at odds with the darkness, seeing next to no hope as violence turns its ugly head. The poor snare is getting destroyed by the mighty hand of the drummer and the vocalist is genuinely terrifying.
Compared to the previous effort, more space is given for the satanic voice to breathe as there are moments where the scream is left to itself, to die alone in the dirt. It’s Khanate levels of bone-chilling proportions, no wonder why Enthralled is my favourite song on the album, it is incredible!
Diving deeper into Things Seen But Always Hidden, we go into track six with Apocrypha Through The Keyhole. For me it’s the most unhinged experience here as the guitars sound completely out of control, it is the car swerving off the road.
Suffering throws so much at you during the album’s runtime. It’s certainly a tribute to classic Black Metal bands like Darkthrone with its wet cardboard box production style and I mean that in the best possible way, obviously…
Again I wholly praise the vocals, it is genuinely one of the best stylings put to an album that I have heard this year, it’s a very hard thing to be genuine in this space and this is an amazing accomplishment. The drums deserve their time to shine too as they are both rapid and primitive, bringing the energy that was needed.
The bass was sometimes used effectively, at best it was otherworldly within its deep fuzz tone, popping up in the mix when least expected but too often being the closing words on a song's outro. So much more could have been done with it, it could have torn the world into two but was held back massively from doing that.
With the guitars they make their presence known but they feel at risk of repeating themselves within the more sparkly refrain which is used a noticeable amount of times.
Overall, Things Seen But Not Always Hidden is consistent, mysterious, headache inducing and at times, genuinely uncomfortable to a point where I don’t know how to feel. Above all else, it’s memorable enough to a point where I want to take a bath to wash the feelings created off of my person. 7/10
The Old Dead Tree – London Sessions EP (Season Of Mist) [Cherie Curtis]
The Old Dead tree brings us their London Sessions EP, called as such because it was recorded in Abbey Road Studios (birthplace of Abbey Road by the Beatles and Pink Floyd’s The Dark Side Of The Moon). Recording here is a big deal, even though The Old Dead Tree has been around since 1997 and toured with the likes of Opeth and Paradise Lost, Abbey Road Studios is hallowed grounds.
The Old Dead tree brings us a more tender and intimate EP this time round and not by any means less favorable. Even though fans are used to a more distortion leaden sound with reverberant metal vocals with clean melodic choruses; their new one is showcasing a side we’ve never really had the privilege to see. They’ve amped up the elaborate sharpness, throwing in our faces just how refined 20 years of experience has made them. That's one of the first things i noticed while listening to this album.
While sifting through their discography there was such a stark contrast to what they usually have to offer- I was genuinely surprised. Their new one is so scrubbed and tempered to a degree where it feels almost sterile, while their older songs had uniquely dynamic range with sprinkles of prog metal melodrama.
I feel like longtime fans would struggle to enjoy this new one unless they can appreciate the diversity in sound and can understand the creativity and deliberation that went into The London Sessions.
Having this one shuffled between some of their previous work is cool; it’s interesting having the pure range lined up to hear. Though their sound is different, more mature in a way, their signature stamps are all there; it doesn’t feel like anyone else either. The Old Dead Tree still brings us stunning vocals, blissfully carried by the tenebrous thrumming of a bassy drum driving the emotive lyrics home – just gentler and elegantly this time.
It's a great album, it's beautiful and more meaningful and shows us the high level of technical skill and heart they've developed through their career. 7/10
Bezdan – Upon The Altar (I Hate Records) [Martin Brown]
There’s a kind of nostalgia that works in metal when it’s backed by vision, and then there’s nostalgia that sounds like imitation. Bezdan’s debut full-length Upon The Altar falls squarely into the latter. It’s meant to be a throwback to Possessed, early Death, and the raw speed of first-wave Sepultura—but what it delivers is a blur of riffs repeating too often, whilst mistaking volume and distortion for energy.
The production is deliberately rough, but not in the purposeful, “recorded-in-a-tomb” sense that gives life to underground death metal. Instead it feels unfinished, with guitars pushed too far forward, and the drums vanish into a papery thud. The bass is barely a rumour beneath the fuzz. There’s power in the tone, but no shape; songs collapse into one another without definition.
Performance-wise, the musicians clearly understand the genre’s language—there are hints of interesting phrasing in Dark Messiah and a decent tremolo motif in Hades Knights—but they play as if trapped in a rehearsal take. The drums are metronomic, the riffs interchangeable, and the vocals a constant bark that never finds dynamics or phrasing. You can sense sincerity, but it’s not enough to carry the album past the demo level.
The best moments occur when Bezdan slow down long enough to breathe, such as the mid section of When Death Becomes Your Life or the mid-tempo churn in sections of Endless Fields Of Bones. For a few seconds, the music hints at atmosphere, at something older and darker than simple revivalism—but the band immediately rushes back to the same blur of open-string riffing.
In theory, Upon The Altar should appeal to devotees of Hellhammer or Evil Blood, but in practice it lacks the chaos or danger that made those bands vital. It’s not offensive; it’s just indistinct. For a debut more than a decade in the making, the result feels curiously weightless. Bezdan have the heart for this style, but not yet the control. 4/10
Suffering - Things Seen But Always Hidden (Apocalyptic Witchcraft) [Joe Guatieri]
Suffering are a Black Metal band based out of England who formed in 2018. They have had a consistent but small output so far, coming out with their first full-length 11, which came out in the year of their birth. They then went on to release two EPs alongside quite a few singles within a four year stretch and now in 2025, they come back in full force with their latest LP, Things Seen But Always Hidden.
The record opens with The House With The Red Door and this title is put to good use as the song does indeed sound like the start to a horror movie. Rainfall scatters the scene over a big commanding mansion in the middle of nowhere.
Starting off with sweeping yet dissonant acoustic guitars entangling with each other, to slowly reveal a mirror but what staring back at you, isn’t your reflection. The organic instrumentation is fucked with by distortion and thrown back in front of your eyes a monster to your surprise, making your skeleton jump out from your skin.
The classic Doom Metal strikes then make their presence known before blackened blast beats drip down onto your head like hailstone. The guitars wash over you in their attack and the toms create a permanent sense of dread.
This is followed up with track two, Enthralled. Now I don’t say this often but I can only describe the riff in this song as epic, it’s like the crescendo of an orchestra, something about it just speaks to me like a classic piece of music.
It’s the work of the yin and the yang as the rest of the song is at odds with the darkness, seeing next to no hope as violence turns its ugly head. The poor snare is getting destroyed by the mighty hand of the drummer and the vocalist is genuinely terrifying.
Compared to the previous effort, more space is given for the satanic voice to breathe as there are moments where the scream is left to itself, to die alone in the dirt. It’s Khanate levels of bone-chilling proportions, no wonder why Enthralled is my favourite song on the album, it is incredible!
Diving deeper into Things Seen But Always Hidden, we go into track six with Apocrypha Through The Keyhole. For me it’s the most unhinged experience here as the guitars sound completely out of control, it is the car swerving off the road.
Suffering throws so much at you during the album’s runtime. It’s certainly a tribute to classic Black Metal bands like Darkthrone with its wet cardboard box production style and I mean that in the best possible way, obviously…
Again I wholly praise the vocals, it is genuinely one of the best stylings put to an album that I have heard this year, it’s a very hard thing to be genuine in this space and this is an amazing accomplishment. The drums deserve their time to shine too as they are both rapid and primitive, bringing the energy that was needed.
The bass was sometimes used effectively, at best it was otherworldly within its deep fuzz tone, popping up in the mix when least expected but too often being the closing words on a song's outro. So much more could have been done with it, it could have torn the world into two but was held back massively from doing that.
With the guitars they make their presence known but they feel at risk of repeating themselves within the more sparkly refrain which is used a noticeable amount of times.
Overall, Things Seen But Not Always Hidden is consistent, mysterious, headache inducing and at times, genuinely uncomfortable to a point where I don’t know how to feel. Above all else, it’s memorable enough to a point where I want to take a bath to wash the feelings created off of my person. 7/10
The Old Dead Tree – London Sessions EP (Season Of Mist) [Cherie Curtis]
The Old Dead tree brings us their London Sessions EP, called as such because it was recorded in Abbey Road Studios (birthplace of Abbey Road by the Beatles and Pink Floyd’s The Dark Side Of The Moon). Recording here is a big deal, even though The Old Dead Tree has been around since 1997 and toured with the likes of Opeth and Paradise Lost, Abbey Road Studios is hallowed grounds.
The Old Dead tree brings us a more tender and intimate EP this time round and not by any means less favorable. Even though fans are used to a more distortion leaden sound with reverberant metal vocals with clean melodic choruses; their new one is showcasing a side we’ve never really had the privilege to see. They’ve amped up the elaborate sharpness, throwing in our faces just how refined 20 years of experience has made them. That's one of the first things i noticed while listening to this album.
While sifting through their discography there was such a stark contrast to what they usually have to offer- I was genuinely surprised. Their new one is so scrubbed and tempered to a degree where it feels almost sterile, while their older songs had uniquely dynamic range with sprinkles of prog metal melodrama.
I feel like longtime fans would struggle to enjoy this new one unless they can appreciate the diversity in sound and can understand the creativity and deliberation that went into The London Sessions.
Having this one shuffled between some of their previous work is cool; it’s interesting having the pure range lined up to hear. Though their sound is different, more mature in a way, their signature stamps are all there; it doesn’t feel like anyone else either. The Old Dead Tree still brings us stunning vocals, blissfully carried by the tenebrous thrumming of a bassy drum driving the emotive lyrics home – just gentler and elegantly this time.
It's a great album, it's beautiful and more meaningful and shows us the high level of technical skill and heart they've developed through their career. 7/10
Bezdan – Upon The Altar (I Hate Records) [Martin Brown]
There’s a kind of nostalgia that works in metal when it’s backed by vision, and then there’s nostalgia that sounds like imitation. Bezdan’s debut full-length Upon The Altar falls squarely into the latter. It’s meant to be a throwback to Possessed, early Death, and the raw speed of first-wave Sepultura—but what it delivers is a blur of riffs repeating too often, whilst mistaking volume and distortion for energy.
The production is deliberately rough, but not in the purposeful, “recorded-in-a-tomb” sense that gives life to underground death metal. Instead it feels unfinished, with guitars pushed too far forward, and the drums vanish into a papery thud. The bass is barely a rumour beneath the fuzz. There’s power in the tone, but no shape; songs collapse into one another without definition.
Performance-wise, the musicians clearly understand the genre’s language—there are hints of interesting phrasing in Dark Messiah and a decent tremolo motif in Hades Knights—but they play as if trapped in a rehearsal take. The drums are metronomic, the riffs interchangeable, and the vocals a constant bark that never finds dynamics or phrasing. You can sense sincerity, but it’s not enough to carry the album past the demo level.
The best moments occur when Bezdan slow down long enough to breathe, such as the mid section of When Death Becomes Your Life or the mid-tempo churn in sections of Endless Fields Of Bones. For a few seconds, the music hints at atmosphere, at something older and darker than simple revivalism—but the band immediately rushes back to the same blur of open-string riffing.
In theory, Upon The Altar should appeal to devotees of Hellhammer or Evil Blood, but in practice it lacks the chaos or danger that made those bands vital. It’s not offensive; it’s just indistinct. For a debut more than a decade in the making, the result feels curiously weightless. Bezdan have the heart for this style, but not yet the control. 4/10
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