Three years ago this trio played ‘Hood’ at the Vortex in east London, during the Accelerando tour, and club goers standing at the bar spontaneously broke into dance. The impact of the tough, snapping rhythm, syncopated so sharply that the eighth notes jolted and jerked like a train ride on uneven terrain, was such that bodies rocked in accordance. That energy translates into the version on this recording but perhaps more importantly an excellent mix, courtesy of James A. Farber, brings into focus the wealth of metric nuances in Marcus Gilmore's drumming, which is as much orchestral percussion sans tympani. A tribute to techno pioneer Robert Hood, the aforementioned track is an accomplished consolidation of an ongoing strand in Vijay Iyer's artistic development – an embrace of popular culture that studiously avoids cliché or formula. Electro-jazz it is not. Yet the double meaning of this record's title – creation by way of destruction, or rather deconstruction – points to a concept that is more far-reaching than the creation of any kind of ‘fusion’: the primacy of the ‘break’, the moment instruments drop out and ideas pop in, throughout black music, from 20th century New Orleans to 21st century New York. While Iyer's fluent but tantalising solos, with that trademark trembling arpeggio, are by no means lacking in appeal it is the cohesion of the group, anchored by Stephan Crump's rich, powerfully concise lines, that carries the day. In a varied set list this chemistry peaks on the title track, a dragging, strutting funk backbeat that strips down to a haunting bass solo before layering up to a heady climax. Elsewhere the trio slides into dub subtleties and also reaches lyrical heights on a reprise of Strayhorn's ‘Blood Count.’ But the key thing about the group is its embrace of the tension between ethereal and physical sensation, fluency and fracture, repetition and variation. The result is acoustic music with electric energies to which one can both listen and dance.