IGORRR – Daemoni (2025)

Igorrr’s Amen (2025) feels like a culmination of everything Gautier Serre has been building toward over the last decade, yet it also marks a new threshold in his music. Where Spirituality and Distortion was flamboyant in its genre collisions and Savage Sinusoid felt like a delirious carnival of extremes, Amen carries a darker, more solemn weight. The album is still riddled with absurd juxtapositions, but there’s a liturgical gravity running through it, as if Igorrr were staging an exorcism in the ruins of a cathedral, using every tool at his disposal: metal riffs, baroque ornamentation, guttural growls, operatic wails, and machines that grind like collapsing factories.

The opening track, “Daemoni”, sets this tone with remarkable clarity. It begins with a stark choral invocation that immediately situates the listener in sacred space—but within seconds, the choir is fractured by crushing blast beats and a swarm of electronics that twist the chant into something grotesque. It’s as if Serre is summoning demons by forcing the sacred and profane to clash until neither remains intact. The track is dizzying in its shifts: one moment, Gregorian-style solemnity; the next, pummeling breakcore rhythms that sound like they’re tearing holes in the liturgy. By the end, “Daemoni” feels less like a song than a ritual, dragging the listener into the infernal universe where the rest of the album unfolds.

From there, Amen doesn’t let up. Tracks like “Blastbeat Falafel” play with Igorrr’s trademark absurd humor, while “Pure Disproportionate Black and White Nihilism” stretches into a more avant-garde soundscape, equal parts harrowing and absurd. The album’s closer, “Silence”, provides a rare and haunting resolution, stripping away the chaos until only fragility remains.

Overall, Amen is both a refinement and an escalation. It shows Igorrr less interested in mere shock value and more invested in weaving his disparate elements into a narrative of apocalyptic grandeur. It’s one of his most coherent works, without sacrificing the madness that defines him. “Daemoni” in particular is the gateway: a track that makes clear, from the first second, that Igorrr is not just crossing genres anymore—he’s conjuring worlds.