Japanese avant garde outfit, Sigh, have released one of the most distinctive albums of 2018 in “Heir to Despair.” Heavy music padded out with flutes, sitars, taiko drums , synth voices, growl voices and clean singing straight out of the tavern scene of a Shintaro Katsu samurai flick.

There are a number of WTF sound effects moments on the level of The Beatles’ “Revolution No. 9” (especially in the interlude “Heresy I” and “Heresy II” tracks), but there are also some really inspired, excellent musical sections - - mostly Metal, but also some Electronic and Jazz (“Heresy I Oblivium” is actually a damn fine song, that walks through some fascinating changes.) I predict that your reaction will be something along the lines of, “How do they come off making songs this good, after that other bullshit they just put me through?”
This feels like oddity with purpose, talent, and smarts, a la Zappa or Primus - - not weirdness for weirdness’s or attention’s sake. . . also not for shock value. This is strangeness I can admire and get behind. Some of the pieces are fascinating specimens. Take “Hands of the String Puller,” as an example. It starts and ends with a lovely, almost Maiden-like guitar progression, but in between is frantic, insane-tempo growling that borders on noise.
It’s hard to direct you to individual songs, because there are wacked parts and brilliant sections interspersed throughout. The album feels like it’s intended as one large piece, more than individual small tunes. WTF moments aside, I find a lot to admire in the best musical moments of this record. If you have a taste for the bizarre, then jump on “Heir to Despair.” If you’re even slightly tentative about absurdity, then approach Sigh with extreme caution.