Review: Sigh – I Saw the World’s End (Hangman’s Hymn MMXXV)

June 19, 2025

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Buckshot Hymn

For 35 years, Japan’s Sigh have been an absolute riot in the black metal scene. The span and range of their discography is something to behold as they’ve explored how much they can push the envelope throughout the 12 albums they have released. This can range from the more traditional and early form of black metal with their classic debut, Scorn Defeat, followed by their trip to the avant-garde world with Imaginary Sonicscape and their last album Shiki was a journey into Sigh’s progressive metal approach. For their 13th album to celebrate their anniversary, Mirai Kawashima wanted to revisit and re-record their 2007 release, Hangman’s Hymn (the new version is named I Saw the World’s End – Hangman’s Hymn MMXXV) with the current Sigh sound, as he felt like it didn’t meet the band’s own standards in execution and production despite being a well-received album itself.

Firing off hard to begin this re-recording of the album comes “Introitus / Kyrie”—it’s just insanely chaotic and the guitar solo is just pure fire. I love the craziness of the vocals as they sound comically evil but fit for what the band does. Continuing this momentum comes “Inked in Blood” with another great show of the more insane side of Sigh’s music. The riffs and the bombastic orchestral feeling just blend well fantastically. “Me-Devil” does a good job in transitioning between their aggressive side and the more melodic sections. One notable change in the structure of the album is that “Dies Irae” and “Overture” later on are now separate interludes in I Saw the World’s End. Following the first interlude of the album comes “The Master Malice” which I feel is livelier on this album; part of it can be from the crazy vocal range that the band helms here. Another notable point from listening to this re-recording is the drumming from Mike Heller is an improvement on the original.

The next track, “The Memories as a Sinner,” is more of a fast and frantic song that shows off the thrashier riffs well. Starting off with an epic orchestral intro comes “Death with Dishonor,” which thrives in its own grandiosity, making for a great tune. Another thought is that it does feel like Sigh have amped up the guitar riffs on this re-recording. While the riffs are similar to the original, on a production scale it does feel like they are livelier and have more time in the spotlight alongside the orchestral/symphonic elements. The latter, while still there, may have been toned down a bit in certain aspects like I noticed on the opening track..

“In Devil’s Arms” starts up with a really fun lead guitar intro followed by a great solo. Overall, this track is just pure fun on a lead guitar side of things, reminding me a bit of the material the band thrives on for the fun factor like Hail Horror Hail. Following the second interlude intro “Overture” comes “Rex Tremendae / I Saw The World’s End” which is pretty intense while still showing off some epic grandiosity that makes for a strong ending.

The next song “Salvation in Flame / Confutais” is another ruthless & aggressive track that’s gives a sense of triumph musically as well. The guitar solo here is lovely as well. Noticeable difference in this version is the omission of the yodel-ish background vocals from the original. The closing track fittingly titled “Finale: Hangman’s Hymn / In Paradism / Das Ende” ends this album in triumphant style here. The aggressive riffing, the bombastic symphonies and the whaling shredding solos makes for a great time made.

Overall, I really liked I Saw The World’s End as a well-executed re-recording that doesn’t water down what made the original good. Does it feel like it really needed a re-recording? Maybe not but that doesn’t stop me from enjoying this. While there are differences with the orchestral/symphonics that may disappoint some fans who loved the original, I do feel like the guitars in this feels more amped up, feel more lively and have more spotlight. The aggressive thrash riffs, the crazy vocal range, insane shredding solos blended with the bombastic orchestral symphonies make for a more balanced production where both areas get their love here. Also, Mike Heller kills it on the drums. Listening to this also makes me want to see Sigh in the future go back to their more insane side of themselves for their next original album.