- Apr 23, 2020
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Igorrr is a band that hails from France, and although they really can’t be associated with any singular genre, broadly speaking they are considered an experimental metal band. “Spirituality and Distortion” is Igorrr’s 4th full length studio album to date, their last being 2017’s “Savage Sinusoid”.
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Its hard to describe, to pin-point this album. Raw and bursting with emotion, “Spirituality and Distortion” is 14 tracks of absolutely no compromises.
In the space of a little under an hour, Igorrr has successfully crossed the expansive seas of genres, and crafted a perfectly blended sampler of seemingly every genre to have ever existed. Truly its all in this one package; from European classical arrangements, to electronic breakdowns, to more Middle Eastern inspired themes, to polka, to a cappella interludes, and then of course back to extreme metal.
In a time where music is so heavily categorized (looking at you death metal, with your technical, progressive, slam, melodic, brutal and other such sub genres), its great to have an experience that truly throws that notion of categorization to the wind and takes so many risks. There are very few “safe” moments to be found here. Metal bands commonly work non-metal elements into their albums, typically seen as distinct intros or interludes, but almost always return to a focus of metal at their core. Igorrr have instead decided to treat each element with equal weight, an approach not often heard.
What is perhaps most impressive, is how easy of an album this could have been to mess up. Without careful songwriting and structuring each piece could have fallen victim to over-saturation, and have confused and frustrated the listener. Especially since the songs follow a more linear approach, each one sharing a separate glimpse into this distorted universe Igorrr paints, not relying on the verse/chorus formula as often.
However, Igorrr pulls it off seamlessly, writing simple yet effective melodies that weave all of the vastly diverse instruments together; melodies that often culminate in a plethora of impactful pays offs and engaging moments.
All of this is tied thematically back to the song titles, album artwork, and album title, providing a subtle commentary on the religions and beliefs found throughout the world. Referenced by the inclusion of so many distinct genres, each one a twisted or distorted version of what it would be on its own, there is an underlying stance of things not always being what they appear to be, or rather, that things are not always black and white.
Some highlights of the album would include the gorgeous vocal harmonies in “Polyphonic Rust”, the groove-laden “Camel Dancefloor, which continues to layer upon a simple yet catchy foundation, and the build up in “Himalaya Massive Ritual” featuring acoustic instrumentation, bells, and intense vocal harmonies, all which descend into powerful guitar riffs.
This final touch that seals the deal is the fantastic production. Intense and with crystal clarity, the precision of the production amplifies the very tight performances of all the musicians involved. The guitar tones are crushing without being over-gained, the bass is punchy and audible, the drums sound like cannons, and the vocals are robust and soaring.
Really, there are no criticisms here. This album is a breathe of fresh air, and a testament to any who claim “there isn’t any good new music”, or that metal died in the 80s.
Give this album a listen. Or a few.
-
Its hard to describe, to pin-point this album. Raw and bursting with emotion, “Spirituality and Distortion” is 14 tracks of absolutely no compromises.
In the space of a little under an hour, Igorrr has successfully crossed the expansive seas of genres, and crafted a perfectly blended sampler of seemingly every genre to have ever existed. Truly its all in this one package; from European classical arrangements, to electronic breakdowns, to more Middle Eastern inspired themes, to polka, to a cappella interludes, and then of course back to extreme metal.
In a time where music is so heavily categorized (looking at you death metal, with your technical, progressive, slam, melodic, brutal and other such sub genres), its great to have an experience that truly throws that notion of categorization to the wind and takes so many risks. There are very few “safe” moments to be found here. Metal bands commonly work non-metal elements into their albums, typically seen as distinct intros or interludes, but almost always return to a focus of metal at their core. Igorrr have instead decided to treat each element with equal weight, an approach not often heard.
What is perhaps most impressive, is how easy of an album this could have been to mess up. Without careful songwriting and structuring each piece could have fallen victim to over-saturation, and have confused and frustrated the listener. Especially since the songs follow a more linear approach, each one sharing a separate glimpse into this distorted universe Igorrr paints, not relying on the verse/chorus formula as often.
However, Igorrr pulls it off seamlessly, writing simple yet effective melodies that weave all of the vastly diverse instruments together; melodies that often culminate in a plethora of impactful pays offs and engaging moments.
All of this is tied thematically back to the song titles, album artwork, and album title, providing a subtle commentary on the religions and beliefs found throughout the world. Referenced by the inclusion of so many distinct genres, each one a twisted or distorted version of what it would be on its own, there is an underlying stance of things not always being what they appear to be, or rather, that things are not always black and white.
Some highlights of the album would include the gorgeous vocal harmonies in “Polyphonic Rust”, the groove-laden “Camel Dancefloor, which continues to layer upon a simple yet catchy foundation, and the build up in “Himalaya Massive Ritual” featuring acoustic instrumentation, bells, and intense vocal harmonies, all which descend into powerful guitar riffs.
This final touch that seals the deal is the fantastic production. Intense and with crystal clarity, the precision of the production amplifies the very tight performances of all the musicians involved. The guitar tones are crushing without being over-gained, the bass is punchy and audible, the drums sound like cannons, and the vocals are robust and soaring.
Really, there are no criticisms here. This album is a breathe of fresh air, and a testament to any who claim “there isn’t any good new music”, or that metal died in the 80s.
Give this album a listen. Or a few.
