Igorrr round out part one of their European jaunt with Master Boot Record and Imperial Triumphant in emphatic fashion. Manchester just about survives all out assault on it’s senses.

IMPERIAL TRIUMPHANT

New York City’s Imperial Triumphant are all atmosphere. Masked by ornate golden headpieces, the trio waste no time in setting about their business. Songs of their local landscapes and corporate greed give a different bent on black metal. Black metal is not the only string in their bow though. Tempo changes that are anything but orthodox pervade their sound, and the jazzy flourishes they add all help complete their avant garde sound.

Lexington Delerium opens their set, from most recent LP, Goldstar. On record, Meshuggah’s Tomas Haake is a guest. The bands make great bedfellows. Such is the clutter onstage, Imperial Triumphant have very little space and they tower over the front rows. It allows for a solid connection, and they lap up the adulation they recieve. The atmosphere is further ramped up when a fire laden trumpet is used to help forge an even more intense sound. Industry Of Misery borrows a little from The Beatles’ I Want You (She’s So Heavy) in it’s sound – the guitar work is top notch and utterly thrilling.

It is clear that the night is going to be a good one. Imperial Triumphant have plenty of punters in very early; it’s a hallmark of many metal shows in Manchester – no showing up just for the headliner. As the gold laden figures process offstage, the changeover begins, soundtracked by vociferous, thumping techno. Not that casual background stuff; this is front and centre; pounding. Relentless. It is just as much an attack on the senses as Imperial Triumphant are.

MASTER BOOT RECORD

When the thumping techno disperses, the screen flickers with a huge MBR logo styled on the old IBM logo. By definition, Master Boot Record is ‘a critical part of a computer’s storage device that contains the necessary code to initiate the boot process and load the operating system.’ Clutching a keyboard and flanked by a loading screen, Master Boot Record are loaded and ready to execute.

Their sound is crushing. It has an industrial sense that pummels and pounds. ‘This is computer metal!’ is the cry – the crowd are fully onboard. Some punters already have the t-shirt, those who are none the wiser have nowhere to go as the band are relentless. In a first for this writer, a copy of Double Dragon on 3.5″ floppy disc is thrown into the crowd (you can add Lemmings to that list too, as the band exit). It is certainly unique and completely niche.

The nostalgia infused trip continues with Doom, with the seminal first person shooter being used as backing on the big screen. Edoardo Taddei is laser like on the fret board with runs up and down being completed in breakneck fashion. He is a talented individual that adds a little more depth to the pelting sound. At the other end of the spectrum, when the band leave, it is meditative piano adorning the PA before the arrival of Igorrr.

IGORRR

As the lights dim, things get sinister. The pulsing throb of Daemoni resonates as Gautier Serre takes his position behind his workstation of machines and percussion. He also has a guitar in his arsenal to go full tilt.

The illuminated ‘I’ of Igorrr flickers as vocalist Jb Le Bail cuts a striking silhouetted presence through the heavy mist. His entrance is met with huge cheers as he ominously strides towards the crowd. Marthe Alexandre follows dressed in a glamorous red dress to deliver her symphonic and operatic vocals.

Behind the drums is Remi Serafino; the drum riser evokes The Evil Dead with hands reaching for the light poking through. Then, to complete the collective, Martyn Clément arrives to add some deadly guitars. The crunch of the riffs are prevalent throughout the night.

Spaghetti Fever, Nervous Waltz and Blastbeat Falafel all wow in the early throes. Huge beats and twisted rhythms are propelled by the guitars and processed sounds. All the while, Jb Le Bail stalks the stage delivering harsh vocals and goading the crowd. Marthe Alexandre adds haunting light to the darker hues created by the band in a genuinely enthralling mix.

AMEN

Igorrr are in the midst of promoting their latest album Amen. With a now hefty discogrogaphy, striking the right balance for a setlist must prove increasingly more challenging. For the most part, it is Amen and Spirituality & Devotion that make up the setlist. When the older tracks are aired, the opening notes of the songs are greeted like old friends. Downgrade Desert and ieuD (from 2017’s Savage Sinusoid) are such examples. They kick off a crowd surfers and mosh pits on the floor of the O2 Ritz.

Of the venue, it is a grand old building with a sprung floor and ornate surroundings. Igorrr bring with them a superb light show that is right at home in this venue. Naturally, there are strobes aplenty but this does not detract from the clear vision of the design.

CAMEL DANCEFLOOR

Igorrr present a very unique show. Their presence on stage is undeniable and irresistible; the music is absolutely jaw dropping – there are not many acts delivering music of this ilk. It can appeal to those who are in the dance camp, but it is firmly rooted in black metal. With the baroque and operatic stylings added in, there is a curiosity you don’t get with the run of the mill.

Selections from Amen continue with Pure Disproportionate Black and White Nihilism and Silence helping round out the main set. Eventual set closer, Himalaya Massive Ritual, has the O2 Ritz in complete rapture. All members of the band give an incredible amount of energy in firing up the crowd.

A three song encore kicks off with Very Noise; a song title so apt for the evening! Camel Dancefloor follows before Opus Brain puts the icing on the evening; an exceptional evening at that. If you get chance to see Igorrr in 2026, do not hesitate. You can find all the forthcoming tour dates here.

Igorrr: Website / Facebook / Instagram

Master Boot Record: Website / Facebook / Instagram

Imperial Triumphant: Website / Facebook / Instagram

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