How do you even begin to describe Savage Sinusoid? Anyone familiar with the previous works of Igorrr - the brainchild of Gautier Serre - will know that to even try is impossible, while those newly introduced will find that a smorgasbord of adjectives cannot adequately convey the invention, verve, passion, playfulness and genre-smashing glee he effuses at every turn. "From a young age I wanted to listen to music with no boundaries, to find a band which had no limits. I never found that band, so I decided to make that music myself, and when you're a teenager and you like electronic music, death and black metal, Balkan music, classical, baroque and Indian music and you want to make everything join together, but you have zero money and zero opportunities, you find a way to make it happen. Electronic music was initially the only option for me to express my musical ideas," he states, having turned legions of heads in that scene since self-releasing debut collection Poisson Soluble in 2006. Over the subsequent decade, as his abilities developed and the cult of Igorrr grew, Serre broke free of the electronic niche, incorporating more and more live instrumentation in his works. This was most fully realized with 2012's Hallelujah, but as strong as that record was, Savage Sinusoid lays waste to it - having taken a full four years to develop, track and mix. "Doing good metal, good electronic music, good Balkan music and good baroque music along with all of these other ideas and elements takes lots of time. There's a lot to learn along the way, and mixing them together is something else entirely. 'Savage Sinusoid' is an album without samples, one hundred percent of what you hear was recorded in the studio, and every little thing you hear, as microscopic as it might be, has been thought and rethought, made and remade millions of times to be sure I achieved my personal vision of 'perfect music'."