There’s something ritualistic about repetition. Something transformative about noise. In this interview, we dive into a practice that moves freely between acoustic force and electronic abstraction. It’s about dissolving boundaries, between genres, between control and chaos, between tradition and experiment.
You’re widely regarded as one of the most influential metal drummers of all time. How does it feel to carry that legacy today, and how has your relationship with drumming evolved over the years?
Iggor: It feels great to receive that kind of acknowledgment, especially because I’ve always tried to push forward as an artist and musician. It means a lot. At the same time, I truly believe there’s always more to learn. My relationship with drumming keeps evolving — I’m constantly exploring new ideas and perspectives, which keeps the instrument exciting and alive for me. Everything starts with rhythm. Before melody, before harmony — there’s pulse. Drumming comes from the inside. It’s physical, but it’s also emotional. It comes from the soul. It’s something deeply instinctive and human. That’s what has kept me connected to it all these years.
My roots are in metal and punk, that raw energy, that urgency, that almost confrontational honesty. That foundation shaped everything. But over time, I’ve become more interested in space, texture, repetition, and trance. The aggression is still there, but it’s transformed. It’s less about speed or power, and more about depth and intention.
Have you had a chance to check out our first instrument, the Perc? I’m really curious to hear what you think of it.
Iggor: I would love to try the Perc in my studio. I’ve seen some amazing videos — the Tiny Desk concert with Clipping was sick. It definitely caught my attention, and I’m very curious to experience it hands-on.
You’ve deeply embraced electronic music, drones, and experimental sound. What drew you into that world, and what creative needs does it satisfy that acoustic drumming doesn’t?
Iggor: I believe drumming is one of the few instruments that can feel ancient and modern at the same time. That duality has always inspired me to experiment with new ideas. Drums and drones can both be very trance-oriented, and I’m deeply drawn to their ritualistic qualities. Exploring electronic and experimental sound expands that dimension even further.
You’ve spent some time with the Polyend synth ecosystem. What’s your impression of it, and how does this type of instrument fit into your creative process, whether live, experimental, or in the studio?
Iggor: I really enjoy the Polyend synth, it’s an integral part of my show and a huge help in the studio when developing new ideas. I can honestly say it’s one of my favorite machines at the moment.
That’s incredible. You also work with modular systems and noise-oriented setups. What excites you most about modulars, and how do they influence the way you think about rhythm and texture?
Iggor: The excitement comes from the unknown, from breaking barriers between styles and dissolving traditional ideas of what music is supposed to be. My setup is created on the spot, which leaves plenty of room for error, mistakes, and beautiful accidents. That unpredictability fundamentally shapes how I approach rhythm and texture.
