The Binary Code are exposed to the same tap water that The Dillinger Escape Plan, The Number Twelve Looks Like You, and Knife The Glitter are – it shows. Not just in their penchant for tech metal with a strong theory background (which SHOULD be a given, right?), but of course, their focus on the tastefulness that (should) go along with it. Yes, this four piece is another quality export from New Jersey (fact: the water runoff from the New England Appalachian range is some of the most purified and mineral rich on the planet) and they are a tasteful band – They are a careful outfit, but by no means allow that to deter from expressiveness. As a result of an internet-fuelled-international-fanbase, Suspension Of Disbelief is not a leftfield experience for this listener – To those unfamiliar, this is a release that operates as much an introduction as it does a singular musical concept.

There is more the glow of “musical concept album” surrounding Suspension than recent releases from chief practitioners  Between The Buried And Me. That is, for an album that embellishes odd meters, it maintains a striking consistency. Every facet, from the persistent tribal tempo to the triplet riffing style, establishes a sonic plateau; this plateau represents the foundation for the band’s overall sound and style, one that maintains its shape with no compromise. The differentiation between the riffs themselves (in adjacent tracks) is what allows for subtle furrows in the landscape of the release. If a stream of palm muted picking, all of which are motivated by steady groove from the crash and snare are the template of Suspension, then the riffs and accents that bubble from those are all the more focussed and groove-oriented. It is not a chaotic listen (despite some abrasive Origin sweep freak-outs) but it does rely on the warping this groove to achieve its mathematical ends. At the end of the day, that is what good tech does; establishing a rhythm before bending it, as opposed to the trigger happy math blasters who skip the introductions and go right to the butchery – no foundation means no payoff. The guys in The Binary Code are methodical in the former way, and create a definite exposition to base their more technical ideas off of.

Despite this lack of aural pandemonium, Suspension is by no means a neutered album. “Ghost Planet” and “Human Condition” (which is also the highlight of this release) stomp with such a lethal attitude, slamming into death metal riffs I have actually never heard before (lo!). Not every riff and supporting bass presence is as inspired as these moments (although, the interactions in the climax of “Awaiting Necropolis” are as memorable as they are inventive), but it would seem the band find themselves most vividly when they can sic their auditory hounds on the listener. The lower register vocals also work in this mode, where when applied are truly monstrous – in stark contrast to the more frequent mid range murmur. Percussion-wise, the style is interesting, and nicely produced by the same mastermind who gives Knife The Glitter their due godly sound. The kick patterns often feel a bit too loose (likewise the snare), and yet I would prefer this album to maintain them so not to rob it of its necessary groove.

The real chops are savoured cuts on Suspension Of Disbelief, and when the Metheny – esque leadwork in “The Story” emerges, I can only trust the knowledge of these musicians implicitly. As mentioned, it is a careful album. As a strength, this enriches the complex leads and rare extravagance… These moments are earned, and a factor that sets Suspension apart.  As a weakness, this cautiousness does not allow for the necessary risks that could have made a release like this a classic. The Binary Code has already found a sound; a stunning group of stylistic threads that even their contemporaries The Number Twelve Looks Like You never found during their career… However, since The Binary Code has worked so hard to assemble a safety net, a next release should see some more jumps.

(7.2/10)

No related posts.