Igorrr – "Amen"
And in the category of "Most Difficult Album to Have Sex to"...
If you're unfamiliar with Igorrr, their music might be described as a near-dadaistic mash-up of 1/3 metal, 1/3 more obscure (sub-)genres, and 1/3 Einstürzende Neubauten. When they drop a new album, it would be equally legitimate to say that you have no idea what you'll be getting, and, conversely, that you know exactly what you'll be getting. Because what you WILL most certainly be getting is an equal parts hard-hitting and seemingly random expression of musical meta-creativity. Paradoxically – and perhaps intentionally – Igorrr are predictably unpredictable.
And I don't mean it lightly when I mention Einstürzende Neubauten. In "Headbutt", for example, off of this, the band's 5th LP, mastermind and multi-instrumentalist Gautier Serre is using a goddamn excavator to "play" the piano. Like with many other artistic experiments that weren't done before, you might rightly point out that it still just sounds like a piano getting bashed up, but it still says a lot about the no-holds-barred creative MO here.
The piano continues to play arpeggios in Minor and diminished chords over a blastbeat. A break – then head-first into heavy, chugging mid-tempo metal with a growly scream – much like that of Behemoth frontman Nergal. Another break with more piano arpeggios and female operatic singing contrasts an ensuing thrash-y blast frenzy, more than slightly strafing black metal. The screams become longer and more painful; the precise on-beat drum fills are insane. On a moment-to-moment basis, Igorrr know exactly what they're doing. On an overall level, perhaps rather the exact opposite.
Follow-up "Limbo" makes the entire transcendence into downright black metal territory, if only for just a few measures. But it starts out with a clean guitar and a piano playing a theme on top of its chords, the resulting harmonies thereof echoing heyday-Opeth. This one also features aforementioned operatic female singer – only here, her singing becomes a hoarse, seemingly uncontrolled scream, presenting a heavy half-time section with a peculiar mid-mix choir – not in the background, not in the foreground; just precisely in the middle. What's the purpose of that?
It's like Igorrr have made it their supreme MO to apply certain combinations for the first time in music history. You can like it or not, but you can't argue with the originality factor.
I sometimes say about the more extreme metal albums I review that it sounds like the apocalypse, and to a large extent, that's the case here as well. Igorrr employ several elements – from the metal genre and beyond – that sound dramatic and/or disturbing. But in a stark contrast to this, Gautier Serre's seemingly unprejudiced openness toward any creative whim of his just as often makes the whole thing seem random as much as anything else.
Indeed, it's not a coincidence that Igorrr have often been compared to Mr. Bungle, and it's not a coincidence that Trey Sprunance lays down some Middle-Eastern-tinged surf guitar in second single "Blastbeat Falafel" (take a moment here to appreciate the song title of the year), which also features bouzouki and some Central-Asian string instruments, contrasting its death metal sections with some obscure ethnic vibes.
And by the way, yes, you read that right: To make matters a bit more surrealistic, this is a band that releases singles – with an -s at the end. First single "ADHD", then, is based upon a long-winded, constantly evolving electronic beat reminiscent of Aphex Twin; third single "Infestis" is a slow death metal shuffle stomp. Its growl is old-school rusty and far in front in the mix. I can't figure out what language it is, though… Latin? Not English, that's for sure.
On the last third of the album, and in spite of several easily recognizable elements throughout, "Amen" does lose a bit of momentum in that there's not that much tangibility going on. And if you hadn't figured it out yet, it's not like there's exactly a whole lot of hit factor going on, either – not that that's the idea. The elements that stick are never verse lines or melodies – the whole thing has an intrinsicallly alienating effect. And again: Maybe that's a deliberate part of the concept. I don't know, and it's probably not all that important anyway.
On a moment-to-moment basis, Igorrr know exactly what they're doing. On an overall level, perhaps rather the exact opposite.
Adding to this is that the songs (or perhaps rather "tracks") tend to end rather abruptly and somewhat anticlimactically. But perhaps this somewhat nihilistic quality is also a part of the whole deal, supporting the apparent notion that basically anything goes, but that it shouldn't be too pleasing to the ear. Indeed, one track is named "Pure Disproportionate Black and White Nihilism" – on which, by the way, Serre is allegedly hitting the snare drum with a hammer on top of an anvil in order to get a more aggressive sound. It's also worth noting that Scott Ian lays down some severe axe chops on the almost klezmer-like "Mustard Mucous", which also features flute breaks. Doesn't sound anything like Anthrax; definitely sounds like itself.
In a nutshell, and quality notwithstanding, it's like Igorrr have made it their supreme MO to apply certain combinations for the first time in music history. You can like it or not, but you can't argue with the originality factor – even with a band like Mr. Bungle having been around since… yeah let's not talk about that. #gettingold
In a world where both popular mainstream music and what's released under the metal banner sounds more and more homogenous and pandering, I, for one, wholeheartedly welcome an enterprise like Igorrr. But I would've anyway. Because not only do they stomp ass without sucking up towards any commercial interests, as should set an example for any metal band out there; they're also hella fucking original while doing it.
Yeah, just though I'd write an entire review without swearing, did ya? Probably not gonna happen.
Rating: 5 out of 6
Genre: Avant-garde metal
Release date: 19/9/2025
Label: Metal Blade
Producer: Very Noise Family