"Graveward" feels more straightforward up against "In Somniphobia," whose travels to realms of bad dreams lived up to its name, though it should be noted this is hardly another day at the M�tter Museum. My general vibes are that this is a little more riff-based and less oriented around experimental structures; those odd influences dribble in rather than act as the musical foundation. Many tunes within "Graveward" ("Kaedit Nos Pestis," the title track, "The Forlorn") are centralized by a nice arsenal of hooky riffs and a lead guitar attack that is probably the most explosive and dynamic Sigh has ever presented, while the unconventional nuances subtly cover the void. Keyboards, orchestration, saxophone sections, and vocal effects are plentiful, and still remain fresh despite all having been rolled into the general idea of what to expect from Sigh.

At times I have a hard time describing why I'm aroused by this. "The Forlorn" and "The Molesters of my Soul," especially the former, are mid-paced and creeping-not an oddity of Sigh to slow down, but usually experimental elements overtake the surroundings, unlike the aforementioned tracks. While weaker than the remaining cuts, they aren't too shabby overall. The atmospheric crawl of "A Messenger from Tomorrow" moves the experimental flame into a haunting, ethereal void that makes a legitimate case to be the best song here. I personally find myself admiring the up-tempo tracks. "The Tombfiller" is just astounding, especially Dr. Mikannibal's bouncy vocals during the chorus. "Out of the Grave" and "Dwellers in a Dream" show the creativity of Sigh rivaling the intensity, neither overlapping the other.