Read the inner workings behind The Algorithm’s 12 brand new tracks
The Algorithm‘s star has been on the rise for a good while now. Since releasing debut album Polymorphic Code in 2012, founder Rémi Gallego and later recruit Mike Malyan have played their glitchy, electronic, math-infused majesty around the world, with a slew of big names, and to top it all won a Golden God for best underground artist.
However, it was clear that they could go only so far on one album’s worth of material, and so here we are on the cusp of album two, which sees release in a couple of weeks. We’ve already run the rule over it, giving it a whopping 90%, but for the real insight into Octopus4‘s madcap genius, you’d have to ask the man himself – so we did. Without any further ado, here’s the inside track, from Rémi’s himself:
This was one of the last tracks I wrote for this album. I wanted something spacey, slowly progressing, and melancholic. It’s a mysterious, abstract introduction to the album. Really Daft Punk-ish, with a hint of post-rock, i guess.
This track is part of my intention to keep experimenting with different kind of music genres. The intro bass line was heavily inspired by Herbie Hancock. I started writing it in 2012 and randomly found it again in my old hard drive just before i started working on Octopus4. Everything happens for a reason.
Mike Malyan’s first take on collaborating with me. He wrote the track completely out of Commodore 64 chip emulator and sent it to me. I loved it and layered it with my own sounds and style, it worked out so well that I decided to put it in the album.
This is my favorite. The first melody line is really influenced by mathcore riffs, and I tried a lot of new production techniques for this one.
Starting from this track, the album is getting a bit darker. I wanted to try and see what would happen if the synths were processed by guitar amps, and well no surprise: it sounds like guitars. It gives the track an original but subtle metal touch that I like.
The most dubstep track of the album, I guess. The title is a reference to the predominance of synthesized sounds instead of guitars in this album, as well as being a damn cool word.
- damage points
Once again a track that brings a dark atmosphere, I think old school Noisia has been kind of an influence for this one. I wasn’t sure where I was going but I’m happy of how it turned out. It’s powerful.
A really Black Mesa-ish ambient track, a bit inspired by the works of Access To Arasaka. During the creative process of Octopus4, it was important for me to take a break from the heavy, intense, style of writing and breathe a little bit, empty my mind. I had a lot of fun writing it, I used a lot of Reaktor plugins for the first time in an Algorithm track.
A high-speed 80s-influenced F-Zero race between gods. Something like that. Really video game-ish, exactly how I love it.
- un dernier combat (feat. Niko Gallego)
Since Kernel Pt. 1 i’ve always wanted to incorporate some rap vocals over a track again. This time around it’s not Eminem, but my brother. It’s an interesting track that has a lot going on, going deeper in the dark side of my influences.
- recovery fail
More drum and bass. I always thought that i needed to do more of it, I guess there’s always a lot to be done anyway and that’s why I liked working on that kind of sounds. It’s something new for the listeners and for me, everybody’s happy.
The most ‘metal’ track of the album, i guess. There’s a lot of guitars going on and it’s a bit chaotic, sign that the album is going crazy and is reaching an end. Also one of my favourite, I loved working on the outro.