CD, self-released, 2008
Igorrr returns with his signature hybridised sound – a mangled maelstrom of classical coupled with modern synthesised and virtual instrumentation, resulting in a breakbeat-black metal-opera exercise in madness – on “Moisissure”. A title I find a little misleading, personally: the eclectic and unexpected dynamism of Igorrr’s musical frenzy does more to blast the mildew from the eardrums than inspire the slow rise of damp.
The album as a whole is tiring – Igorrr does not believe in easy listening; rather, he confronts you with a host of surprises in many forms, leaving you on the edge of your seat in anticipation of what curveball he’s likely to fling at you next. The constant change of pace is aggressive and demands full attention for its entire thirty-five minute length. As on his previous release, “Poisson Soluble”, Igorrr’s use of samples is inspired: as incongruous as they seem (especially the female vocal track on “Brutal Swing”), they somehow add to the menace of the music. The harpsichord styling on “Huile Molle”, juxtaposed with crying babies, is another perfect example of this unsettling intent. Similar sentiments apply for the buzzing drones and whispered vocals on the title track.
Summarily, it is unlikely that “Moisissure” will garner any commercial accolades for Igorrr; a pity, as anything this original and fresh (there really is nothing even vaguely similar available anywhere) as this selection of eleven pieces of brilliant lunacy deserves great praise. He may be reinventing what he began previously, but it is evolving into something far cleaner, more technically accomplished and much, much darker – without a doubt, an artist worth watching for any fan of experimental (and practically unclassifiable) fusions of electronic music.
— David vander Merwe