Igorrr, The Fleece, Bristol, 14.04.22
There are times when you know a gig is going to be an experience from the moment you enter the venue. This was one of those nights. It was completely packed having been a sold-out show since it was originally meant to go ahead last December, and I can’t even recall the last time I’d seen The Fleece so full. It’s also not often you’re greeted with such an eclectic crowd of people at the same event (think dreadlocks and day glow lycra meets death metal t-shirts) but this is Igorrr (9) we’re talking about.
Laughing in the face of normalcy is what they do best; taking great pleasure in merging blast beats with baroque and breakcore influences. Despite our combined fondness for their unique brand of musical creativity, there’s still a distinct sense of anticipation. Having each element align in a live setting, and translate to the stage, is a very different beast to making a killer album, and this palpable nervous energy fills the room as the crowd awaits the headline act.
Opening with Paranoid Bulldozer Italiano and Spaghetti Forever, any such concerns are set aside. The energy on record is amplified on stage and is more than enough to fill the venue. Crowd-pleasers Nervous Waltz and Camel Dancefloor get literally everyone moving, and Parpaing provokes the first of many mosh pits. The theatrics and interplay between the vocalists, guitarist, drummer, and Gautier Serre himself is utterly captivating. The act’s unparalleled intensity is particularly prominent during Tout Petit Moineau and Pavor Nocturnus (relatively subdued glitch-laden tracks featuring simplistic sting and guitar sections) that showcase the passion behind this delightfully confusing aural experience.
Opening with Paranoid Bulldozer Italiano and Spaghetti Forever, any such concerns are set aside. The energy on record is amplified on stage and is more than enough to fill the venue. Crowd-pleasers Nervous Waltz and Camel Dancefloor get literally everyone moving, and Parpaing provokes the first of many mosh pits. The theatrics and interplay between the vocalists, guitarist, drummer, and Gautier Serre himself is utterly captivating. The act’s unparalleled intensity is particularly prominent during Tout Petit Moineau and Pavor Nocturnus (relatively subdued glitch-laden tracks featuring simplistic sting and guitar sections) that showcase the passion behind this delightfully confusing aural experience.
The operatic vocal gymnastics, transitions from soaring highs to screams of anguish, contrast spectacularly with the low-end growls and the barrage of double-kicks. Himalaya Massive Ritual rounds off the main setlist, representing a solid chunk of their discography, before the band come back strong – accordions blazing - with Cheval, then go straight into Apopathodiaphulatophobie, which completely switches up the atmosphere. Wrapping up the encore with Very Noise, sends everyone into a frenzy, and ends the perfect evening of exquisite nonsense.