Polyrhythmic anger and dissonant mathematics. That’s how I would describe Bisbâyé’s album. Rarely have I listened to music where polyrhythms truly feel polyrhythmic. On Gestalt, there’s no doubt you’ll feel each separate rhythmic pattern on its own, thanks to the ingenious arrangement of the drums and guitars, and it creates such an unnatural, counter-intuitive, and mesmerizing feel.

The band’s real focus is on polyrhythm at all cost. There is no singer, because he would probably get lost in between the times, and the metrics are prioritized over the heaviness of the ensemble, and that’s such a relief to what we’re used to hear in today’s polyrhythm-over-4/4 djent trope. Gestalt, which means form, or shape, takes a whole other meaning here, where everything is unstable, inconsistent… You can’t rely on the drums to headbang, or on any other instrument for that matter. This particular playing paints a form that is truly Bisbâyé’s own.

Those who call Meshuggah the masters of polyrhythms are epic fail.

Moreover, Bisbâyé has two earlier EP-albums, Bisbâyé and II, which are really just more of the same good stuff. This proves the band always put the emphasis on polymetrics and never stopped.

Gestalt is a must-have for math-music enthusiasts.