Release Details

LABEL Metal Blade Records
RELEASED ON 6/16/2017


Savage Sinusoid

4 weeks ago   By: Chris Redar

From the very first bit of recording footage I watched, I knew Savage Sinusoid was going to be a somewhat divisive, if not outright polarizing, album. That's not a humble brag or anything— it's more that I have terrible taste and I thought it was interesting. Now, when I say terrible, I mean AWFUL— I prefer God Hates Us All to Reign in Blood, I like more than one post-Max Sepultura album, and I don't see what the big deal with Iron Maiden is— I'm one of the worst metal fans alive. So, of course I'd be into a breakcore-remixed pseudo-metal/neo-classical hodge podge of nearly danceable compositions. What you are about to read isn't so much a review in the classical sense, so much as a highly subjective defense of an album that I feel deserves a bit more attention. That's also why I'm speaking so much in the first person here, as that's normally one of my biggest pet peeves when it comes to reviews.

Savage Sinusoid sounds less like a standalone album and more like a soundtrack to a video game, and I mean that in a complimentary manner. It's like the composers for Symphony of the Night and Tekken got together to make the most Japanese-sounding side-scroller music they possibly could. Corny nu-riffage combined with accordions and operatic vocals just screams “oh shit—I'm about to fight a mid-boss.” As a video-game playing person that grew up on less western fare than the youts of today, the nostalgic factor of this adds to the experience and makes this a more imaginative ride.

Honestly, the least interesting part of this is the metal vocal aspect. There are some stunning compositions that are interrupted by shouted vocals, which seldom add to the tone. In fact, it's more often than not that the screamy vocals ruin the sing-y ones. It takes you out of moments that are otherwise fun—sometimes even captivating.

The metal INSTRUMENTS, on the other hand, never seem out of place. They blend flawlessly with the baroque/folk passages, and the mixing ranges from standard to outright goofy. It's reminiscent of say, the Prodigy jamming with UneXpect, and it's a hell of a lot of fun. There isn't a limit to where this album heads, but there is definitely an aural scope, as it begins in one place and ends in another. Sorytelling might be a bit of a stretch, but there is cohesion here, and the track order is perfect.

My normal stance as a listener is that it's up to the artist to convey what they're trying to via the music— as in, it isn't the listener's responsibility to research or draw someone else's conclusion. And I shan't be making an exception here, as my hope is that Igorrr intended this to be a little silly and more fun than not, because it is. Savage Sinusoid is not an everyday kind of album (even if you DO use drugs, which, don't do that, kids), but it is unique and enjoyable. Don't be too surprised if you hear this in the background if you have the misfortune of running into me on the old Xbox.