Quiet World, the Metal Blade-debut from Boston-based prog metal/art-rock trio, is a heady, genre-scorning horn of plenty that's as unnervingly pop-friendly as it is endlessly knotty and impenetrable. Comprised of three Berklee College of Music grads -- Robert Edens (vocals), Myles Yang (bass), and Max Harchik (guitar) -- it should come as no surprise that Native Construct has chops, and the seven songs that comprise the band's first studio outing offer up a veritable AP course in composition and technique. An intoxicating amalgamation of Queen, Mr. Bungle, and Between the Buried and Me, Quiet World features moments of operatic, musical theater-inspired bedlam paired with djent-fueled blasts of spiny fusion-metal ("Mute"), trippy space rock noodling ("Chromatic Lights"), vaudevillian electro-rock ("The Speak of the Archon"), and thrashy, power pop-kissed, sax-fueled free jazz ("Passage"), resulting in something akin to what might be playing behind the smoke-and-cinder-strewn backdrop of a post-apocalypse weather channel forecast. The pure pop moments that flow beneath all of the metal Steely Dan posturing can be a bit jarring sometimes -- they often just explode, big bang-style, out of the ether -- but Edens, Yang, and Harchik are such wizards on a technical level that it's impossible not to marvel at all of their handiwork -- witness the spell-binding, 12-minute closer "Chromatic Aberration" that somehow manages to incorporate every trick in the band's considerable arsenal and remain eminently listenable. Quiet World is a splendid and maddening confection; a mathy, sugary sweet, geek-metal buffet with all the fixins', and then some. Bring a change of clothes.