Igorrr
Nostril

Igorrr is back with a record that is pure madness. The poet of rot goes all out by pairing the most brainless breakcore with gypsy traditions, the filthiest grindcore with the suavest gothic, death metal with classical music, and more growls, grotesque rather than brutal, with tenor/soprano vocalizations. At the edge of surreal, "Nostril" is -conceptually- halfway between the collages of the Residents, the baroque mix of Diablo Swing Orchestra, and the sickness of that prophet of weird trash known as Otto Von Schirach (here too "conceptually" is mandatory, as the latter certainly makes sick stuff but does it with a technique, complexity, and rhythmic experimentation much more noble and unparalleled in the world of modern electronics, except for Autechre and friend Richard Devine).  

"Nostril", which we remember is released on a label now with an important name for experimentation (Ad Noiseam), is a sort of "Rossz Csillag Allat Szuletett" (the masterpiece of Mr. Breakcore himself, namely Venetian Snares) in a mocking version; it's a record delirious, deviant, spastic, blasphemous, and completely off the charts. Not a glimpse of effort is seen, but what comes out, whether a masterpiece or trashy hodgepodge, are 43 minutes absolutely terrifying. 

"Nostril" is the musical of the ridiculous; the first track, "Double Monk", is Zakir Hussain completely high, it's Goran Bregovic gone mad, it's Cradle of Filth - rightly I would add - being mocked: rains of distorted kicks, Indian tablas reduced to inorganic noise, eruptive gypsy ballets, Tibetan mantras, sitar, banjo, distorted guitars, and Transylvanian sonatas follow randomly in what is the delirium of a lunatic. A frenetic breakcore, worthy of the best Aaron Funk, rhythmically pulls that putrid mass of "Tendon" (Greek-rooted riffs, Slavic violin orchestrations, death deviations, sick and disconnected vocals) and the equally dopey "Excessive Funeral", "Unpleasant Sonata" (tempestuous blastbeats, yet again vampiric melodies, liturgical organs, inhuman screams that seem distortion feedbacks).  

The mad Frenchman trips up the most android Autechre on "Very Long Chicken" (with dubstep movements) and the dramatic soprano-vocals of the opera on "Caros", which takes on a more serious dimension, immediately contradicted by "Melting Nails" (a faded sampling of old swing meets a super-slick 'drill' break), "Pavor Nocturnos" (grunge strumming, mimicking the singing of Scandinavian bands) and "Cruciform Dachshund" (there's every possible genre in there) where it moves from apocalyptic liturgies like Elend to other depressed emulations of Tilo Wolff, then to tenors, cacophonic screams on walls of guitars and all kinds of glitches."Half a Pony" is an orgy between Squarepusher, Beethoven, and Agoraphobic Nosebleed, while in "Fryzura Konika" there is an improbable encounter between Latin rumba, gothic choirs, trip-hop, and drum'n'bass. And if you thought the line was crossed, all that's left is to listen to the singular 'genres' of symphonic-shit (or power-scum or even gothic-puke) that Igorrr invents on the epic orchestrations of "Moldy Eye", an apocalypse that announces a new world where the streets are made of organic waste, the sky is vomit, and you eat eyeballs on plates of bone debris with a side of shit and piss. 

There are plenty of sick albums out there, especially in the breakcore realm, and this, personally, is not among the most brain-dead that I remember, but rarely have I heard any so excellently produced (technically truly advanced, brilliant ideas even in a demented context, remarkable orchestrations, never a sample out of place, perfect balance between electronics/experimentation/acoustics, mastering that borders on perfection despite the numerous sounds used) [not by chance Igorrr started as a sound technician] and this becomes more interesting considering that this character has behind him only two self-published records, and therefore, this is the true debut. 

Do you know how Ad Noiseam defines the album in their site presentation? Baroque-core: it fits perfectly. Someone stop him though!