No matter where I go, I find that I can’t seem to truly escape Miami. Whether by means of the invigorating Cuban coffee or the unquenchable and all consuming music scene. On this recent venture to Los Angeles, I uncovered a long delayed tour headlined by world-renowned French black metal/breakcore/trip hop/baroque act Igorrr, with Otto Von Schirach as the opening act (replacing Australian gothic rock band VOWWS).
The tour was initially scheduled to pass by Los Angeles all the way back on March 15th, 2022, but it was delayed due to the band experiencing a lineup change. Upon the continuation of the rescheduled tour, Otto joined as a continuation of Igorrr’s previous European tour. As anticipation grew and my interview with Otto was set to take place, I counted down the moments, ticket in hand, to see in-person a little slice of our Miami accompanied by a long time favorite of mine, Igorrr.
With a stomach full of gluten-free Ronzoni rotelle and meatballs driving to the Regent Theater, I made a point in learning about the mystery factor of this coming evening – Melt Banana – while packed in the backseat of my friend Devin’s American sedan. Melt Banana, booked from the original lineup with Igorrr, is a two piece Tokyo-based experimental noise-rock band formed in ‘92 and has been traveling the world with various legendary acts like Tool, Napalm Death, Melvins, and of course now Igorrr. When I got a taste of their sound, prestige, and history I was all the more excited to see them in person.
Arriving at the front of the Regent I found Otto at the merch tables.
He was slinging stickers, shirts, and stories with fans and those curious about this triangular magistrate of a man. My interview provides insight into Otto’s creative process, outlook on the scene, and personal appreciations; in it I referenced Frank “Rat Bastard” Falestra, who served as our honorable host for International Noise Conference as Otto’s yearly creative release. Otto’s Triangle was originally made by Alligator Jesus (David Tamargo), an LA-residing fine art and grill builder, who was set to join Otto as a reptilian hype-gator for this special Los Angeles performance.
Otto’s hypnotic opening performance blew the lid off the crowd. As I weaved through the audience, I heard the sounds of ravers, metalheads, and single moms stunned, everyone intensely grooving to Otto’s hurricane of bass and distorted hails to the triangle. Shortly after this flashy introduction, the hype-gator appeared from behind Otto with illuminated spotlights blaring from the eyes of the gator mask. Otto then went off, dropping beat after beat ranging from reggaeton to metal to rapping in spanish, all while the gator was busting one move after another, bringing the energy of the room up and up with every genre-defying jump. At the conclusion of his set you could hear calls from the crowd of people shouting “305” and hailing the sacred triangle, a performance that will forever imbed itself into the memories of the unexpecting patrons of the Reagent.
Following our precious Otto was Melt Banana.
As they took the stage with Ichiro Agata wielding a Gibson SG hooked up to an eye-worthy pedalboard; also featured was a glorious SUNN beta lead and Yasuko Onuki wielding a microphone in one hand and sample pad in the other. I was in love with this creative duo’s truly unique noise-rock experience with subtle inspiration from Aphex Twin and the hardcore punk scene. The headliner Igorrr began as Gautier Serre, the French-born mastermind behind Igorrr’s unique sound, took the stage and unveiled a legendary performance that truly took the house down. Drummer Sylvain Bouvier entered shortly proceeded by guitarist Martyn Clément, and finally came the new unclean and mezzo-soprano vocalists, JB le Bail and Marthe Alexandre respectively, cementing the musical experience that would shake the ground and beckon to the hearts of music lovers here and far. The show finished with a glorious encore, the crowd’s restlessness satiated by this uniquely original lineup.
I couldn’t help but feel a sense of pride with my hometown of Miami producing such a strong opener to a lineup of a true composer’s dream. As I passed by the merch stand to see Otto and say my goodbyes, I could see fans surrounding him and captivated by his larger than life triangular persona. No matter where I go, I always seem to find some wild Miamian who has forged their path into some niche of society, changing the world in their own unique way. One voice, or ten trillion bass drum kicks on synth, at a time. I can’t wait to see Otto again at the tip of the Bermuda Triangle in Bar Nancy on October 27.
