The Jazz-Metal Trio PainKiller’s Classic Lineup Revs Up Again

In the spring of 1991, John Zorn, the radically eclectic composer and saxophonist, hopped into a cab outside his East Village apartment. Already inside was Mick Harris, a young drummer visiting from Britain whose band, Napalm Death, had become the leading exemplar of grindcore, a caustic, velocity-crazed blend of punk and metal. Their destination: Greenpoint Studios, the Brooklyn headquarters of the prolific bassist-producer Bill Laswell, Zorn’s friend and collaborator.

There, in one day, the three bashed out a fully improvised record. Featuring Zorn’s convulsive alto sax over Laswell and Harris’s alternately blasting and lumbering rhythms — seasoned with vocal shrieks from Zorn and Harris — the album represented a new bridge between the jazz avant-garde and underground rock’s most forbidding extremes.

On Friday, Zorn’s Tzadik label will release “Samsara,” the first new studio recording in 30 years to feature the original lineup of the trio, collectively known as PainKiller. While the personnel is the same, much else is different this time around.

For one thing, the three musicians were never in the same room during the creation of the record. Harris — who has made electronic music for decades and gave up drumming entirely after PainKiller initially parted ways in 1998 — contributed synthetic beats recorded at home in England. Zorn overdubbed his saxophone parts at Orange Music, the New Jersey studio where Laswell shifted his operations in the late ’90s. And Laswell added bass last, via a makeshift mobile studio that his longtime engineer James Dellatacoma set up at his Upper Manhattan apartment.

The distance wasn’t just convenient but necessary during a period of profound personal struggle for Laswell. Since 2022, in addition to diabetes and high blood pressure, he has battled a blood infection, and problems with his heart, kidneys and lungs that have kept him in and out of the hospital, left him unable to walk and led to intense pain in his fingers, severely curtailing his playing. He and his team have also been fighting to stave off a possible eviction from Orange Music.

Yet the album’s eight tracks of immersive, richly textured beatscapes layered with volatile sax lines still feel unmistakably like PainKiller, joining the band’s catalog following “Execution Ground” from 1994, where the trio embraced desolate long-form dub and hallucinatory ambience.