by Eduardo RivadaviaOver the course of 17 years and six incrementally mature and eclectic albums, Sigh have deservedly earned their stripes, not only as most assuredly Japan's finest black metal band, but easily one of worldwide metal's most innovative and unconventional acts. Until 2005's perplexing misfire Gallows Gallery, that is, where childishly simplistic vocals and cornball melodies suddenly conspired with the group's usual metallic ingredients and supra-technical musicianship to turn up some baffling musical hybrids. Made even more intolerable by a certifiable production disaster, these misfires fell afoul of even their most open-minded fans, and ultimately led to Sigh being dropped by their then record company. Thankfully, its immediate successor, 2007's Hangman's Hymn's represents an unqualified return to form: back are the always unpredictable but now refocused, synthesizer flourishes and orchestral bits arranged by vocalist and keyboard wizard Mirai Kawashima; back with a vengeance are the devastating riffs and dazzling solo flights of guitarist Shinichi Ishikawa; and, more importantly, back are the speed, the attitude, the hatred -- black metal, baby! In all seriousness, Sigh's re-dedication to the genre which spawned them is almost frightening to behold, as they mercilessly launch into a rarely failing string of blastbeat-driven onslaughts, with special kudos going to