Alright motherfuckers, hold your hats, cause things are about to get really, really, fucking bizarre. Warning: If you are in a chill mood do not listen to this music.
If you haven’t had the pleasure of listening to Igorrr: welcome to one of the only bands I know that are Death Metal, Breakcore, IDM, Electronic, Classical, Opera, Avant-garde (obviously), and in this album Klezmer, Polka, Chiptune (made from gameboys), with some added Spanish guitar. It sounds like Mike Patton’s dream of falling in love with Edward Scissorhands as John Zorn, Bach, and Aphex Twin compose their wedding music. It’s not for the light of heart. It’s fucking beautiful. It’s an adventure. But it’s not for the light of heart.
Genre defying music is usually shit, I agree, as its focus is breaking genres, then at the end, there isn’t any music left. But this isn’t music made exclusively to defy genres. It’s that point in electronic music that feels like an orchestra. Ya, Gautier just adds a fucking orchestra. Or that point in classical music where you want to start head banging. Again, Gautier adds death metal. But, how fast is that Death metal? Sometimes it’s so fast it’s electronic bitches. The breaks? Spanish Guitar and Opera. And not some slack shit either. Professional level fucking heartbreaking Spanish guitar, opera, and accordion. Oh ya, and it’s one fucking dude. Gautier Serre. And this French fucker is fucking talented.
If you haven’t heard any of Gautier’s music and you like it, you have a lot of catching up to do. This isn’t his first album. And honestly, to understand the full progression of his music, the true innovation, it’s best to start from the beginning.
This album has been four years in the making because Gautier wanted to work with the best. Like the harpsichordist Katerina Chrobokova. He trucked her harpsichord from her home in the Czech Republic to his studio in France to record, having to wait till the instrument became room temperature then retune the fucking thing, to record her part (she plays her chops in song 2 “Ieud”). He also spent weeks retuning a sitar so it wouldn’t sound like Indian music but “Igorrr” music.
As an album, it’s great to see the progression. There’s no talent lost. It’s obvious that Gautier didn’t want to use samples in this album. And good for him for that, it’s tough to do these days. But, personally, it’s just not my favourite album from Igorrr. I’m still a huge fan of “Hallelujah” (I both lost and gained something within me when I first heard the song “Tout Petit Moineau” … [if you listen, please do so on really good headphones or on a bad ass speaker system. Then … just hold on to your bulging erection and swelling clit cause this is asshole clenching music]).
I once read that Igorrr is the weirdest music ever. It’s bizarre, I agree, but I think that comment is wrong and a bit unfair. Weird shouldn’t be classified alongside experimental. Weird to me is playing the same goddamn song over and over again, each and every day of your life, and then thinking that this song is the best that the world can offer. That’s eating the same meal everyday and calling it the best. It’s being locked in a prison your whole life, playing shadow puppets on the wall, then saying film has nothing to offer. But hey, I’m not the first guy to point this out. Enjoy.
“When the wise man points to the stars the fool looks at his finger.” Confucius