ALBUM: The Algorithm – Polymorphic Code

Release Date: November 19th, 2012
Label: Basick Records
Website: None available
Facebook: www.facebook.com/thealg0r1thm
Twitter: www.twitter.com/the_algorithm

Rating:

As the previously sacred barriers between music genres continues to degrade, we can expect acts like The Algorithm to be the big hits of tomorrow. The brainchild of French producer Rémi Gallego, The Algorithm is a fusion of myriad electronic music forms, such as IDM and breakcore, plus the inclusion of heavy music facets such as djenty guitar work and metalcore breakdowns.

Whilst this may sound along the lines of groups such as Enter Shikari and I See Stars, in this instance it’s mainly production-focussed. However, unlike the previous examples, The Algorithm fails to enjoyably unite these odd ends, but maybe that’s the point.

‘Handshake’ kicks off ‘Polymorphic Code’ and sets the overall template for the release; synth and video game samples, and the occasional dubstep thrum with muddy, derivative backgrounds. The midway build-up is a nice section and it gives rise to the notion that Gallego may have some nice production ideas, but is continually hobbled by the needless inclusion of guitar-based sections. Perhaps it speaks to the way that dubstep has exploded amongst fans of groups like Asking Alexandria, that now the dance community is catering more to the demand for heaviness. Being so irrelevant right now, who particularly cares?

‘Bouncing Dot’ largely takes up where the previous track left off, but with a more consistent structure to sound and with the adding of audible Europop influence and vocal sampling. Again, the ambient-centred sections are where the track shines. ‘Trojans’ is undoubtedly the most relaxed track of the release, displaying strong elements of the chip tune variety, but instead of building on the potential of this sound, it is instead interrupted with mindless guitar work. No one, in their right mind at least, would mosh or head bang to such trivial samples, so why include them? Perhaps you have to be in the right mind to like this stuff.

The rest of the tracks up to ‘Panic’ largely recycle and reorganise previously mentioned elements in rehashed ways, so they aren’t hugely worth going into. ‘Panic’ is a fairly epic track in length and scope, its 12 minutes managing to really tie up the loose ends of ‘Polymorphic Code’. The first few minutes are composed of restrained but upbeat electronica, the sort that keeps TEED in funny outfits, before going off into a more trace-affected direction. Breakbeat comes into the mix straight on and then you really get a sense of the chip tune. As a song, it’s a good piece, if not just for the lack of guitars.

It’s cool that there’s an up-and-coming producer bringing together so many influences and ignoring a good deal of the current cliches. However, paying tribute to something as short-term and reprehensible as electronicore, or particularly pretentious djent, is a real barrier to Gallego‘s potential, both in music capabilities and future fans.

Written by Fin Murphy