“Kuso-shi 1, 2 and 3”
As soon as I pressed play on the first track, “Kuso-shi 1, 2 and 3”, I was greeted by an array of electronic blips and beeps that would not sound out of place upon entering an arcade. Arriving soon after is the traditional instrument called a koto, which blends incredibly well with the blips and beeps, almost conveying a sense of modernity meeting antiquity.
An instrumental break from 4:56 to 6:14 is filled with Brazilian salsa grooves (think “Ratamahatta” by Sepultura), accompanied by a ripping electronic organ solo that sounds like lasers shooting off a spaceship, like Galaga.
As Yoda from Star Wars would say: “The prog is strong with this one, mmm!”, giving off Mike Portnoy’s drumming on Avenged Sevenfold’s “Nightmare” vibes, specifically from 6:47 to 7:17.
Not long after, from 7:36 to 8:52, the song drops into something reminiscent of Slipknot’s “The Nameless” and “Pulse of the Maggots”, with a similar sinister and eerie feeling, vocals layered over what sounds like scratching vinyl and broken electronics.
It concludes with a rising operatic choir that sounds like it came straight from Dimmu Borgir’s “Progenies of The Great Apocalypse”, just to add a black metal comparison in there.
One final overarching psychedelic rock comparison for the whole song would be “Starting Line” by All Them Witches.
“Jigoku-Zoshi 1: Unkamusho”
Upon pressing play for the next track, “Jigoku-Zoshi 1: Unkamusho”, I was immediately greeted by a bongo composition that sounds like it should be in a dark version of Crash Bandicoot for the PS1, specifically from 0:00 to 0:23.
Following this is an assault of black metal and thrash proportions with harmonious guitars, harsh extreme vocals and galloping double bass drumming. Only those paying close attention will catch the splashes of China cymbals. Other black metal comparisons can be made, such as Venom’s “Black Metal” (a bit on the nose, I know) and Chthonic.
At 2:21, the song flows back into progressive metal elements, sounding like Rush’s “YYZ” and “2112”.
An operatic chant returns at 3:33:
“Unk-a-mu-sho!”
Considering how it is phrased, it sounds as though it should be the Flash Gordon theme song or something from Power Rangers. More 80s nostalgia.
On a side note, I thought the name of the vocalist, Mirai Kawashima, sounded familiar from somewhere. As it turns out, I remembered it from the metal documentary Global Metal (2008), directed by Sam Dunn, during the Japan segment of the programme, specifically from 27:17 to 28:19.
This recollection came about because I had undertaken a research project of my own while I was in Year 12 at Valley View Secondary School around the same time. The project in question was like what I am doing now: writing a version of a metal magazine defining the evolution of the genre throughout the decades.
Full circle moment or what? The power of manifesting is real!
“Anzenshokon”
Anyway, back to the album. Goh-Ka is Sigh’s 15th studio album, which in my mind means that they have been doing this since before I was born. Respect!
The next track, “Anzenshokon”, gives off Black Sabbath vibes right from the beginning, specifically “Planet Caravan”, and this continues throughout the song.
The electronic instrumental break from 3:31 to 3:35 sounds as though it was produced by a theremin, the same instrument used in the theme song for Doctor Who.
This is followed by an epic audio trip into a seemingly distant and faraway land, which conjured up images of raging horses, ninjas and skeletal warriors like those seen in the anime Overlord, from 4:14 to 5:28.
It finally concludes with what sounds like a funeral procession occurring inside a burning Nintendo Wii console bearing an image of the Sonic the Hedgehog creepypasta.
“Kuso-shi 4, 5 and 6”
“Kuso-shi 4, 5 and 6” opens with that same burning Wii console sound returning for vengeance.
At 0:50, I was transported into a tavern as if I were a character in an RPG awaiting a quest, thanks to the acoustic, folk-sounding guitars.
That fantasy was short-lived, however, as I was greeted by a synth lead that sounded a bit too much like one from a Backstreet Boys song, specifically at 1:13. There is nothing wrong with it, though; the synth lead is infectious and groovy.
I wholeheartedly implore someone to create a game in RPG Maker using this album as a soundtrack, if it has not been done already. I believe it could rival the likes of Undertale and Deltarune, developed by Toby Fox.
At 3:45, there is an incredible flamenco-style acoustic riff that should be up there on a list next to Tommy Emmanuel. This is followed by drumming grooves that sound like the song “What You Deserve” by Ill Nino.
The weight I felt while trying to write this passage was heavy in every sense: spiritually, psychologically and physically, almost as if I could not bear to continue.
However, that spell was broken literally, metaphorically and metaphysically!
A sample of shattered glass provided a breakthrough that reminded me of Slipknot’s “Don’t Get Close” at 5:23.
I had the sensation that arcade sprites had broken free of their casings and were crawling over me; it was very unsettling, to say the least, from 5:29 to 6:05.
Upon completion of the song, all I could think of was Castlevania, as it sounded like a final boss being slain.
“Shoso”
“Shoso” continues to play on that creepy, unsettling feeling. It sounded like a bit-crushed version of “Smoke” by Suicide Silence.
It would fit in a remake of a Silent Hill game.
“Unputenpu”
For the next track on Goh-Ka, “Unputenpu”, I encourage all readers to utilise the visualiser available on YouTube, as the artwork and colour palette are too striking to explain adequately here.
I, however, will be sticking to a musical analysis.
At 2:05, there is an awesome use of a wah pedal effect akin to Kirk Hammett’s playing on Metallica’s “One”.
From 2:23 to 2:32, the harmonising guitars sound almost identical to the “Duncan Hills Coffee Jingle” by Dethklok.
From 2:51 to 3:03, there is a scale rundown that sounds similar to the ones in “Iron Man” and “War Pigs” by Black Sabbath, which should not come as a surprise by now, considering that the PR for this album cites that band as one of its main influences.
And rightfully so!
I shudder to think where heavy music would be, or would not be, without icons such as Ozzy Osbourne and Ronnie James Dio, respectively.
R.I.P. Rock in Power.
“Jinmenjushin”
“Jinmenjushin” opens with what sounds like a darker version of “Aqualung” by Jethro Tull.
Not long after, it bursts out of that psychedelic rock bubble and submerges back into the murky depths of blackened thrash mixed with some surf rock breakbeats.
From 1:34 to 1:44, there is a section that sounds like “Babalon A.D. (So Glad for the Madness)” by Cradle of Filth.
A literal second later, the song launches into more prog elements mixed with some symphonic shredding, much like “Racer X” by Paul Gilbert.
There is so much more to unpack here, as it is a six-minute masterpiece, but I will leave it there as I am curious to learn what others may pick up.
“Jigoku-Zoshi 2: Tokatsujigoku”
“Jigoku-Zoshi 2: Tokatsujigoku” blasts into your eardrums immediately upon pressing play.
It is a culmination of Slayer, “A Little Piece of Heaven” by Avenged Sevenfold (specifically the part where the skeletons chant “Eat it! EAT IT!”) and “Vicer Exciser” by Whitechapel.
I would describe it as an amalgamation of thrash metal meeting progressive metal, with a touch of deathcore.
From 2:04 to 2:31, there are Buckethead-esque levels of shredding skill on display, with more glorious harmonising guitars towards the end of the section, reminding me of “Through the Fire and Flames” by DragonForce.
Guitar Hero III, anyone?
“Kushukankyo”
Speaking of Guitar Hero, “Kushukankyo” opens with what reminds me of the introduction to Guitar Hero: Metallica, with virtual representations of that band walking through the crowd to the tune of “The Ecstasy of Gold” towards the stage.
As I was listening to this interlude, the sun was rising and a new day was dawning.
It all seemed to blend perfectly: the music and the real world in some sort of transcendental universal harmony.
“Kuso-shi 7”
“Kuso-shi 7” builds on that reflection, given how the track begins.
There are tranquil, peaceful sounds of what I would describe as water flowing through a bamboo shoot.
There is an underlying sense of dread, however, as I am bracing for a storm, considering the penultimate track is up next, clocking in at 11:24.
Upon listening further, my sense of dread was confirmed as the soundscape quickly descended into demonic glitches of TV static.
I felt trapped in an empty void with only possessed electronics to soothe me.
In the words of comedian Chris D’Elia: “That’s s’deeper”.
An upset stomach led the way into the finale, “Kuso-shi 8 and 9 / Mettaijakujo”.
“Kuso-shi 8 and 9 / Mettaijakujo”
“It’s the return of the theremin!”
That was my first and continual thought every time I listened to this closing song.
There are elements that call back to the opening track, which helps reinforce the conceptual idea and cyclical feeling behind this album.
That idea is based on the Buddhist paintings known as Kuso-zu, centred around the nine stages of decomposition of the human body after death, meditating on impermanence, death itself and detachment from physical beauty.
I know that in the previous track I said the review was going to be purely musically based, but this is too important not to include.
During the first two minutes, I felt the anguish and agony present in the vocals.
I was also taken aback by the imagery of someone literally clinging onto life as an outside force or entity tore through not only the last remnants of flesh but also the soul.
Thankfully, there was some reprieve in the form of a beautiful, seemingly uplifting electronic vocal break sung with what I think sounded like a vocoder.
The only comparison I can draw currently is with Daft Punk.
The journey continues with that juxtaposition of the two contrasting narrative and musical elements for some time.
That continued until the arrival of a section from 5:37 to 6:07 that included a backing pan flute melody that sounded almost identical to the backing vocals in “Breathing Fire” by Adelaide band Double Dragon.
What follows is a haunting, operatic choir accompanied by strings, leading into a reprise of the introduction of this track, but with a few differences.
One notable difference is the sinister electronic laughter at 7:28, which reminded me of a line from a game whose name I never knew (shocking, I know!). The line reads:
“All your base are belong to us”
After a quick search, it turns out it is from the Japanese video game Zero Wing. Musically speaking, it reminded me of “1 UP” by the DJ Spor.
An absolute shred fest of a solo fades into a section with a big band feel, indicating that a march had begun.
Similar electronic blips and beeps greeted me once again, giving the impression that blood had been spilt and the battle was over.
This was solidified by the closing section of the song, from 10:01 to 11:24, as the organ melodies were light, happy and accompanied by the sounds of birds singing.
The cycle was complete and it could finally begin anew.
Final Thoughts
In a very, VERY short summary, this record was a blast to listen to from start to finish.
I am grateful for all the images and pleasant memories it conjured up, despite some of those that were seemingly horrific.
As always, a huge thank you to Jai “That Aussie Metal Guy” from Crannk for showing me this band.
Thank you to the band themselves, Sigh, for doing what they do so well!
Stay Metal \m/
Manny “The Metal Man” Bath
Stream/Download The New Album Goh-Ka
https://sighpeaceville.lnk.to/GOH-KA
