lunedì 8 aprile 2013

IGORRR (english version)

Author: Insanity
Translation: Insanity

Igorrr - Everything

Igorrr is a particular and hardly contextualizable artist, we already talk about his music some months ago with the latest release by Whourkr and now also with his new album "Hallelujah", now it's time to know him deeper.

Welcome on Aristocrazia Webzine, how are you?

Igorrr: I'm good man, thank you, I was just recording some flowers.

I'd start introducing yourself to our readers: who is Igorrr? Please tell us your story as an artist.

Igorrr is my solo project, that's my very personal ideal of the music. My story is simple, I always wanted to hear a music that I have never found, so I decided to create it by myself. I started with cheap synthesizers in the Nineties, and with some old programs before starting the real first tracks about nine years ago, in 2004 if I remember well. Since then, I'm active in several projects, like Corpo-Mente, Vladimir Bozar & Ze Sheraf Orchestär or Öxxö Xööx, but Igorrr is my main project in which I'm absolutely free of any rules.

How did you choose Igorrr as your monicker?

That was actually the name of my gerbil when I was a teenager. When it died, I took its name, and I kept it!
I just added the three "r", but I don't really know why, maybe to make my name more difficult to pronounce?

Let's talk about "Hallelujah", your latest work: how did you compose it? In which way did you create the tracks, do you have a standard method or do you follow your instinct?

The way of composing is really instinctive, yes, there is no precise method I guess, I just have a really precise idea of what I want to hear, and specially, what is the feeling of the track, and I make everything possible to get this point. "Hallelujah" was long to achieve as I wanted it to be absolutely perfect for me, and you can believe me, it wasn't vacations to make this album.

From what do you draw inspiration to write your songs? What do you want to express through them?

Usually, the tracks should speak by themselves, check a track like "Tout Petit Moineau" or "Grosse Barbe", and it will be the best answer you can have! But in words, usually, I like the opposite feelings, like for example, the delicate side of the baroque music mixed with the brutality of the Death Metal, and the whole thing mixed with Breakcore.

In this album there are many guests: can you tell us who are the artists who worked with you and their roles? How was being the "orchestra leader"?

Yes, absolutely, there were a lot of guests on this album, that was awesome for me to work with all these amazing persons. Laurent Lunoir, from Öxxö Xööx, Laure Le Prunenec from Rïcïnn were the two main singers on this album, they were on my previous album as well. They are just for me, the two most amazing singer I ever heard. I'm so lucky to work with them. Benjamin Violet, the violinist, also was on "Nostril", he is also simply the best I know. For the guitars, I was working with Teloch, the guy from Mayhem, he did incredible guitars on "Absolute Psalm" and "Lullaby For A Fat Jellyfish", we have been speaking about doing some music together for a couple of years, and it finally happened with "Hallelujah". Also, for the guitars, I asked Nicolas Sénac, the guitarist from Pryspisme because I'm completely in love with the way he is playing Black Metal, this guy got a huge talent, and you should check his band Pryapisme. On a track like "Vegetable Soup", there are many featuring, and it was funny to meet all these people in one single track. There is the accordionist Adam Stacey, I was really happy and impressed to welcome someone like him on my album, I have been listening to him for years, with his bands Estradasphere and Secret Chiefs 3 and it was a big pleasure to be able to work with him. On the same track, I asked my friends Pedrou and Mina from Vladimir Bozar & Ze Sheraf Orchestär as they both have incredible voices, absolutely perfect with this track and they did something as well absolutely perfect! There are three more featuring on this same track actually, Niveau Zero, who made the bouncing bass, also Benjamin Bardiaux, with some really good weird keyboard parts, and Patrick, my chicken. But it's not finished, Niveau Zero is doing also these amazing bass on "Scarlatti 2.0", Cyro Tores is doing the flamenco guitar on "Cicadidae", Simon Fleury is screaming on "Damaged Wig" and "Lullaby For A Fat Jellyfish", Thibault Majorel did the incredible voice on "Corpus Tristis" and Mulk made the saxophone on "Absolute Psalm". I'm really happy everyone accepted to participate in this album, it makes me so thankful...

Personally I am struck by the way the many influences have been blended, analyzing the album we can find really many different styles but everything flows without any forcing. How do you choose which elements you want to put in a certain moment of a track?

I'm not really choosing that, it goes by itself actually, with the feeling. Some things sounds logical to me, and what I want to express with this music needs many opposite feelings at the same time, and the way I express that in my music is natural for me.

Generally people consider this kind of hardly classifiable music something almost divine, yet listening to your album I think that you feel completely comfortable when you make it, like if it was natural to you even if others think that it's impossible. How did you achieve this particular sound?

I believe it's a bit the same answer than the previous one, it's quite comfortable for me to make this music as it's my natural way of thinking, I'm not forcing, it's not like I'm trying to create something which is not me. I guess I'm just following my instinct. I have a really precise picture of the track I want to hear, and from then, I do anything I can to make it real. By "anything I can" I mean that from the moment it's not totally perfect for me, I can spend ages on two seconds of music, and it makes me sick.

People often say that in the musical world everything has already been made, so artists can only look toward the past. Do you think that it is still possible to break the rules that somehow limit the expression of the artists?

I see what you mean, and I don't think it's true, people are changing, we are changing, and the music is changing with us. We are still humans beings so I think there will always be a similar base on the music though. My point is not to break the rules, just to be free of them, and being honest with how I see my ideal of music.

Let's talk of the other projects of yours: tell us something about Whourkr, Öxxö Xööx and other current and past experiences, if you had any.

Whourkr is dead now, but it was a Brutal Death Metal/Breakcore duo project, like a music to make your brain explode. We made three albums, each one with a different singer and different sound, but we stopped now. Öxxö Xööx is the project of Laurent Lunoir, one of my oldest collaborator, we have been working together for many years, he was also the person I created Whourkr with. In Öxxö Xööx, I'm doing the sound, a bit of composition and some guitars. I'm a part also of the band Vladimir Bozar & Ze Sheraf Orchestär, they are from the south of France, and they are usually really into Pastis and Cicadidae, sometimes more than music. That where come from my track "Cicadidae" by the way, with the guitarist Cyro, he is the guitarist of this band! Now my main side project is Corpo-Mente, it's a kind of Trip-Hop/Baroque project with the singer Laure Le Prunenec (from "Tout Petit Moineau").

How did you get in touch with Ad Noiseam, the label that released some of your works?

He was hard to contact, as I'm not doing a music which brings money, but I got his attention by probably sending him 8009987987 emails! The typical emails didn't work at first, so I was writing bullshit about "pink moustaches" and stuff like that, and I finally got an answer one day! He took the risk to release "Nostril" on his label in 2010, and it worked actually very well. It's an amazing label and Nicolas Chevreux, the main boss, is someone absolutely nice and open minded. The only problem is that he is like me, a bit bald.

Which are the artists that you consider fundamental for your artistic growth? Is there any musician that made you think that you wanted to create something with your own hands?

I think that's a bit the opposite, of course few artists where fundamental for me, but the main reason I created music, is that I didn't find anywhere what I wanted to hear. The most amazing musicians for me are: Meshuggah, Domenico Scarlatti, Portishead, Radiohead, Cannibal Corpse, Aphex Twin, etc.

Last year you came in Italy for Tekart 2012, how was this experience? Will we have the pleasure of seeing you again this year?

This gig was really cool, chaotic organization and really loud sound, it was great! I'll probably play again in Milano this year or Malta, but the dates are still unsure, can't wait to play there again anyway!

Any news for the next future? If I'm not wrong you will work together with Bong-Ra, anything else?

Yes, absolutely, me and Jason (Bong-Ra) made a two tracks collaboration and we'll release it at the end of May on Prspct Recordings, that's quite Doom Metal/Breakcore tracks, you'll see! Also, we are going to release our first album with my side project Corpo-Mente, the first track, "Dorma" will be online the 15th of April, just to have a look on the music, but the rest will take much more time as it's an acoustic album which needs a lot of attention.

Do you have other hobbies? Who is Igorrr in the every day life?

My main hobbies are: collecting useless sounds, spending time with my chickens and my ducks, spending weeks on a single blast beat, and eating "tapenade" on the south of France.

Thank you very much for the interview, the last message for our readers is up to you.

Oh cool, I can say whatever I want? Well, here it is:

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