February 19, 2010 | | 3.5

The Binary Code, Suspension of Disbelief

The Binary Code: Suspension of Disbelief

Suspension of Disbelief from New Jersey’s The Binary Code is one of those albums that can only be fully appreciated after a handful of listens much like the influences on the band (Dillinger Escape Plan, BTBAM among a few). There’s so much material — from technical death metal to jazzy progressive instrumentals — that a single listen does not do the album justice. Listening to the album, you can tell these dudes can shred and play the hell out of their instruments, but they’ve done a nice job not over doing it and not showing off, too much. Sure, there are some seriously technical flourishes throughout the album, but there’s also a measured restraint that is quite refreshing for a younger band.

Musically, the band’s sound stretches across several underground genres, but doesn’t stop there — incorporating jazzy tones, smooth instrumentals and bruising riffs. Vocally, you’ll be greeting with a delivery that’s nearly as eclectic as the music it accompanies. Deep guttural growls combine with mid-range screams while both a menacingly spoken and softly sung delivery are mixed in amongst the progressive song structures and roaming instrumentals.

Suspension Of Disbelief (Part I)
The two part title track starts off the band’s debut album with bruising, staggered riffing and machine gun-like drumming. The vocals primarily sit within a mid-range metalcore styled delivery as the band shifts and jumps from tempo to tempo. There’s a definite Dillinger influence on this song as the guys blast and erupt with burly drum work and frenetic guitar highlights.

Suspension Of Disbelief (Part II)
The second half of the song is a rather, for the most part, subdued instrumental with progressive guitar work and rhythms. There’s a nice ebb and flow to the three minute track.

Mechanical Seas
“Mechanical Seas” starts off with pretty technical guitar work and creative drums before the deeper vocal delivery comes in about 25 seconds into the track. This is a pretty damned good track that straddles the technical with the progressive nicely. The vocals shift from raw, mid-range shouts to deep guttural growls. This is a pretty even tempered song that’s highlighted by gang vocals and a calm, atmospheric interlude around the four minute mark.

Ghost Planet
For as even flowing as the previous song felt, “Ghost Planet” is anything but. It’s a beastly, frenetic and active song that will have you dizzy and confused in record time. The structure to this one is fragmented, yet coherent, carrying you along a vicious ride through manic blasts and shredding guitar. There’s a pretty rocking set of riffs just after the three minute mark that’s got a slight doomy, stoner vibe to it.

“Void” is another instrumental breather with light guitar work, jazzy tones and chill overall temperament.

The Story (Intro)
The first part to this next set of tracks last only 20 second or so and is pretty much unnecessary.

The Story
The vocals at times, throughout this second half of “The Story,” take on a feel similar to Hunter-era A Life Once Lost. There are also a couple of cleanly sung portions that add an interesting feel to the swelling progressive metal that’s packed into this track. The soft interlude after the three minute mark feels a bit out of place, but is quickly devoured by driving riffs and burly vocal work.

Human Condition (Intro)
The opening notes for the second part of this song are slick as hell. The instrumental only lasts just under a minute.

Human Condition
The second half of “Human Condition” carries the same riffing mechanism from the previous track smoothly as layered growls and screams come in a few moments later. The riffing throughout the song is burly and accompanied by a few massive, machine gun drum blasts. There are also some slick little outbursts to the guitars that add a bit of a schizophrenic, yet technical aspect to the song. There’s a good deal of BTBAM influence in the song that’s a nice touch.

Awaiting Necropolis
“Awaiting Necropolis“ carries the same fragmented, technical structure as the previous song, but is a bit darker and aggressive in tone. There is a boat load of stuff going on during this song — layered vocals, swirling guitars, creative drums. The two tracks as a whole make for a hell of a listening experience. The bursting drums just before the three minute mark are accompanied by some sweet guitar work.

Void II
The final track has some tremendous atmosphere. The short song is packed with slow moving, roaming jazzy guitars and serves as the calm after the storm. Not bad.

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