Straddling between melody and abstraction, the improvisations on The Djerassi Sessions build a cloaked mystery but feature more color than the gray-on-gray cover art suggests. The all-strings trio (koto, acoustic bass, and electric guitar) have produced an album of dark shadings that open the way for some fast, captivating playing.
Eat the Sun seems to have Hoopes’ bass miked as a lead voice in general, with his pizzicato work cutting through the groundwork of crunchy guitar noise and rustling koto. Even one note amid the din becomes a clarion call, as happens on “Postfeasttwo” and “Prefeastone.” I’m also partial to this busy passage from “Prefeast Three,” with Hoopes’ bass taking the lead.
Most of the pieces track atonal or cross-tonal melodies. Gretchen Jude’s koto often conjures up the most pleasant patterns of the three instruments (a Japanese motif, obviously) giving Hoopes room to rattle off some impressive jazzlike soloing. She also flits from meditation to rock-like rhythm to frenzied attack. The final seconds of “Postfeasttwo,” with koto and bass slashing viciously, make for a particularly fine moment.
Noah Phillips’s guitar often treads in noisy territory or, as on “Prefeastfour,” winds a path through newly defined scales of its own. It’s a ground fog that defines the mood: never quite pretty, even amid the playing of “normal” notes, and often thick with distortion. “Postfeastone,” for instance, flickers in and out of melodic logic, with the koto riffing against the sour tomes of a detuned guitar.
Eat the Sun is a trio that has definitely found an aesthetic and a sound. It’s territory ripe for more exploration.