While
John Zorn
arguably pioneered jazz-metal fusion with
Naked City
and
Pain Killer
in the early 1990s, drummer/composer extraordinaire
Dan Weiss
took it to an entirely new level with 2018's
Starebaby
. His idiosyncratic take offered intricate compositions, with a trademark use of space, texture, and sophisticated improvisation by a stellar ensemble, all grafted onto doom metal appended with electronics. To say it worked is an understatement;
made many year-end critics' lists across the globe.
Natural Selection
goes even deeper. Developed after touring together, the music here emerges in its own genre.
Weiss
' band -- pianists/keyboardists
Craig Taborn
Matt Mitchell
, bassist
Trevor Dunn
(a periodic accomplice of
Zorn
's), and guitarist
Ben Monder
(who played on
David Bowie
's seminal
Blackstar
) execute serpentine compositions that juxtapose jazz and metal amid the strategic use of elements from prog rock, neo-psych, abstract electronica, and ambient music. Opener "Episode 18" commences as
Monder
,
, and
Dunn
deliver thrash metal riffs. Doom is referenced only after the keyboardists enter. The tempo slows, then accelerates again as their fragmental melodic palette warps, and haunted electronic textures flit in and out bridging instrumentalists. Halfway through, the players begin improvisationally dialoguing with one another. It's followed by advance track "Dawn." A ghostly electronic and tom-tom intro evokes
4AD
at its most gothic, amid restrained, interlocking piano, bass, and drum patterns.
's doomy riffs welcome syncopated rhythmic and harmonic interplay before it all melts away in dreamy, proggy neo-psych. "The Long Diagonal" is transcendent, even as its rhythmic and harmonic architectures owe a debt to
Frank Zappa
King Crimson
with killer shredding from
, before the jam transforms -- momentarily itself tricky post-bop fusion before its processional expanse resumes. The piano that introduces "A Taste of Memory" sounds a lot like
Harold Budd
playing meditatively with trademark reverb along a major scale. Distortion, feedback, and a filthy down-tuned guitar riff emerge from the ethereal backdrop. It begins to shift and fragment along droning rhythmic lines as synths and open-tuned bass crowd the drum kit. The piano reasserts itself, angularly coloring it as a processional before evolving into prog fusion. "Today Is Wednesday Tomorrow" is a brief exercise in avant-techno with keyboardists
offering razored interaction along a prismatic narrative structure. "Bridge of Trust" actively involves the band from the jump as
' wildly creative rolls and fills syncopate a moody, and seemingly static, piano progression before driving into the no-man's-land of abstract, doomy prog. While
was more visceral,
's more complex compositions offer more musical, textural, and dynamic complexity and imagination. At 80 minutes long, it continues to engage the listener from start to finish with its sophisticated playing and tunes. It offers surprise at nearly every turn, and new revelations with each listen. ~ Thom Jurek