Igorrr – Nostril (12/20/2010)


Not a thing of beauty.

Igorrr is something of a wildcard.   Despite the blistering breaks, the haphazard and chaotic samples, and the general defiance of structure, his music captures a very… noticeable feel and atmosphere, despite seeming to suffer from a shattered personality.  What Igorrr does is take that attitude held by people who throw every goddamn genre, style or whatever else they can manage into a song at random times, and limits it to some peculiarly specific types of styles, giving off an often mad vibe, without being unrecognizable.

That’s about as accessible as I can make it; be warned.

The music on Nostril is at a crossroads of three very different roads:  the crazy, arrhythmic breaks and cuts  of Breakcore and its ilk; the recognizable and heavily melodic strings, choirs and, in surprising amounts harpsichord of Baroque; and the blistering tremolo picking, blast beats and wails of black metal. Others genres filter in on occasion;  a random snippet of bluegrass, some surprisingly jazzy beats and keys pop in, bits of folk dance around, and all of it revolves around Igorrr’s electronics.  Despite all the emphasis on other genres, there’s no mistaking Igorrr for anything other than an electronic act, as everything is taken at a base form, broken, and thrown in your face.  So, despite all the influence, he’s still an Electronic artist at heart, and I think that’s why the music here has something different to offer–both to fans of schizophrenic music and electronic fans looking for something interesting.

It’s actually quite a challenge to verbalize what happens in each song, let alone the entire album, because the very essence of the music is that it tries to (quite effectively) destroy any notions of the styles included, whether it’s throwing some grizzly, dirty break beats over some harpsichord or breaking away from a fast-as-dicks black metal intro into a speedy violin arpeggio.  The music is tied by a central obsession with breaks, cuts and all in between, but some songs delve into less frantic waters, sometimes never getting out of an electronic vibe.

As opposed to his first full album, Nostril still manages to capture the sheer insanity of the style he’s trying to make, but keeps it within a certain, if unusual, frame of mind.  He’s really beginning to mature a sound that sounds unreal.

This albums, despite all of that, a study in sonic experimentation.  This is uncompromisingly hectic, unsettling music that pushes definitions and shatters notions.   Take a look at that cover; imagine that as music.  It’s creative, unusual and quite frankly one of a kind–this is a plus to some, and a hindrance to others, and obviously this is, if you can’t tell, the least accessible album I’ve reviewed thus far.  Keep that in mind.

This review is noticeably shorter than the rest, and there’s a reason for it.  No, I’m not lazy.  Really.

The only way to really understand what the hell I’m talking about is to listen to the damn thing, and that’s what I’m telling you to do: listen.  I really can’t describe accurately what madness sounds like.


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