1. Tout Petit Moineau 2. Damaged Wig 3. Absolute Psalm 4. Cicadidae 5. Vegetable Soup 6. Lullaby for a Fat Jellyfish 7. Grosse Barbe 8. Corpus Tristis 9. Scarlatti 2.0 10. Toothpaste 11. Infinite Loop "Hallelujah" is not only the follow-up to "Nostril", but also a definite step forward for Igorrr. An album which was for years in the making, it is the translation into tracks of very old ideas and the combination not only of styles, but also of many guest musician's talent. Together with several new singers and musicians, Igorrr has perfected here the concepts he had touched in his previous albums, improving his production and mixing breakcore, baroque classical music and metal in an even faster, more coherent and crazier way. Both from Igorrr solo and from his high-profile guests "Hallelujah" is the lorrrd's concentrate, the exhilarating, mad result of a perfectionist's tireless work. Get this on double gatefold LP (with the CD inside) / on CD / as digital files. Igorrr's previous album, 2010's "Nostril", was the one with which this French artist confirmed for good the high quality of his production and the craziness of his ideas. Not only was he deepening his combination of baroque, classical music with breakcore and metal (as already hinted at with his "Poisson Soluble" and "Moisissure" previous full lengths), but he had reached a point where all these elements were flowing together in a very natural (though highly complex) way, creating a completely new musical whole. On top of this, "Nostril" was also the album with which Igorrr finally received enough recognition to play all over Europe and be seen as the mad genius he is. Following this album was therefore a challenge, as "Hallelujah" couldn't just be a second "Nostril". This time around, Igorrr's purpose wasn't only to showcase what he could do, but to translate into tracks ideas which he had had for years, and to do so with the help of other musicians: friends, old colleagues and people whose music he had listened to for years. "Hallelujah" is in this sense not a colliding of genres, but also of talents, with other people lending their voices or instruments for Igorrr to perfectly translate his aim into music. "My idea was to have tracks where several music genres were represented by only one person" says Gautier Serre (Igorrr) about "Hallelujah". More than an electronic music producer, he assumed here the role of composer and conductor for an ensemble of musicians as impressive as unprobable: Mayhem's Teloch laid riffs on several tracks, John Zorn's Adam Stacey lent his accordion, Niveau Zero produced bass sounds, the baroque singer Laure Le Prunenec had to go from opera to death metal, two members of France's other crazy act Vladimir Bozar 'N' Ze Sheraf Orkestär were on board, and even Igorrr's own pet chicken had to follow his master's instructions for some vocal parts. The presence of so many guests didn't make Igorrr's work any easier, though, all the more considering that he was here laying down tracks which had been living in his heads for years. "Hallelujah" is a tour de force, even for this very experienced musician, who spent days recording a few seconds and months glueing it all together. In the end, every genre included here (from breakcore to metal, from chanson to baroque) stands on its own, but also contributes to a whole which is more than the sum of its part: "Hallelujah" is the definitive Igorrr album, making "Nostril" sound simple in retrospect. Another step forward for a musician which has become a landmark of modern experimentation and the exhilarating culmination of a painstakingly careful process.