Igorrr - Spirituality and Distortion (2020) Hi-Res

“Initially influenced by the likes of MESHUGGAH, CHOPIN, CANNIBAL CORPSE, BACH, DOMENICO SCARLATTI, TARAF DE HAIDOUKS and APHEX TWIN, traces of these artists can be found littered across his discography, but Serre has never been interested in remaining static or merely recycling ideas, and his work has dramatically evolved accordingly. In recent years, IGORRR has also become something of a collective, rather than the work of one man alone, which has further broadened the scope of his music without sacrificing integrity. While IGORRR output may be initially challenging to some, Serre has no intention of baffling or alienating potential listeners.” “Spirituality and Distortion” contains fourteen tracks.

“Dowgrade Desert” feature acoustical guitars that sound like they come from the heart of the desert, until the main riff drops. It’s heavy and lumbering, with that twisted edge, sounding something like IHSAHN. The female vocals are well done here, combined with the harsh male utterings. “Nervous Waltz” is a shorter, three-and-a-half-minute song that opens with strings and a jovial feeling. But all is wiped clean with the aggressive riff and heavy doses of bass and drums. Tense piano notes come into play and the vocals fall into a chanting mode.

“Very Noise” is the shortest on the album and is led by the charge of bass and drums, along with some electronica. “Hollow Tree” is just over three minutes in length. That fat bass line is very well done, along with sad female vocals that cry out, unheard, in the middle of a thunderstorm. “Camel Dancefloor” had some Middle-Eastern influence, along with some super-tight drumming and again a lot of bass guitar. Later, some electronica comes into play but always held together by the outstanding skills of the drummer.

“Parpaing” is lead by harsh vocals out of the gate. Some electronica keeps a presence here, while darkness permeates the song. “Musette Maximum” does indeed have an Italian feeling here, like mass murder in an open-air café in the middle of the day, complete with accordion notes. The talent of the bassist is noteworthy a well. “Himalaya Massive Ritual” is the longest on the album at over seven-minutes in length. Opening with some odd percussive notes, it quickly settles with machine-gun drumming and bass work. The heavy guitar accents strike the ground and bore huge holes under them. The female vocals are mesmerizing.

“Lost in Introspection” opens with melancholy piano notes, and some of that electronica again. Other elements come into play that are subdued, and you feel like you are beginning to stir from a deep and restful sleep. “Overweight Poesy” has an Eastern flair, especially with those opening instruments. From there, it morphs into a different sound, with some very odd but pleasing progressions. “Paranoid Bulldozer Italiano” features some really strange bass notes, to the point that you are not even sure it is bass guitar. Harsh vocals come in when the bass and drums settle into a steady cadence. The operatic vocals somehow fit right into the sound here, ending a verse with a scream.

“Barocco Satani” opens with soft strings that lead to a slow and heavy progression from there. Then, the sound drops to soprano vocals that are done with some harmony as well. It’s an odd sort of push and pull that continues throughout the song. “Polyphonic Rust” opens with a steady cadence of guitar, bass and drums, with some keys joining the fold. The vocals add some texture to the song in a way that is hard to describe. “Kung Fu Chevre” closes the album. Opening with dual male and female acapella vocals, the accordion is back, and this is just one weirdly pleasing song.

If you’re familiar with IGORRR, you will know what to expect…the unexpected. If you are not familiar with the band, become familiar now. What they have accomplished on this album is nothing short of perfection. Like IHSAHN, but even with more personality (if you can imagine that), “Spirituality and Distortion” has a myriad of different instruments used, methods gained, and meters realized that any other album I have ever heard before. I’m sure the band is used to being described as “unique,” but that is precisely what they are, and he has reached new heights on this album. The bass and drum work is beyond amazing and has to be mentioned. The sky….no, the heavens beyond is the clearly the limit for this band.