Pitchfork

With the release of the initial HiM albums, Doug Scharin showed himself to be a far more talented and versatile percussionist than he ever had through his previous rock outfit, June of '44. He also proved to his audience that he hadn't betrayed his early acquaintance to Bill Laswell. His dubby excursions belied the theatrical dynamics and fury of his former Louisville bandmates and provided a space for his individual creativity to flow without the pressure of reputation or the conflict of ego. Although HiM is now a seven-piece rather than a solo project, the same openness of expression that was so apparent in the early records is still present.

In the vein of the last two HiM releases, Sworn Eyes and Our Point of Departure, New Features falls within the immensely long shadow of Miles Davis' influence (something every reviewer of HiM is sure to point out). However, equal measures of afrobeat and, of course, dub are thrown in as well. The result is a combination that, rather than sounding forced or exploitative in its eclecticism, is, instead, a truly cohesive fusion.

With all of the post-Miles music being made nowadays, from Isotope 217 to coffeehouse jazzbos, it's a wonder that New Features sounds so vibrant and inspired. This is especially remarkable considering that only a very small portion of its instrumentation sounds post '73. One explanation might be the background of the musicians involved. Both Scharin and Fred Erskine cut their teeth (publicly, at least) in angular post-punk bands from the aforementioned June of '44 to Crownhate Ruin. Though this influence is barely perceptible on the surface of HiM, it can be heard in small inflections of bass/guitar work and drumming, the sound of jazz and dub filtered through American underground rock. Still, New Features offers more sophistication and emotional depth than any of the members' previous acts.

The album comes out of the gates running with "Magnified Features" and the twenty-minute second track, "In Transition," the least dubby and most affectionately Miles-sounding tracks here. (The first even features On the Corner-style handclaps.) They unfold in typical jazz form as the underpinning phrases are displayed to the listener, followed by individual solos by each instrumentalist. It's nothing amazing, but it definitely entertains.

Beginning with "Out Here," the dub elements take over, and don't let up until the disc stops spinning. It's really at this point in the album that the band's diverse, cohesive fusion is showcased. Traces of afrobeat, dub, jazz, and electronic treatment co-exist amicably, sounding more open-minded than stylistically self-conscious. Treated trumpets, electric guitars and electronic percussion weaves in and out over the dub beats and basslines. And the occasional African polyrhythms in these songs: truly great.

New Features plays seamlessly from track-to-track, giving it a live feel. After listening to it, one gets the impression that, if it were performed live, in sequence, it would be a highly energetic and memorable performance. And live, of course, is how music like this is truly meant to be experienced, which anyone who has witnessed a HiM show will attest to.

New Features exhibits that, despite what Beck-lovers like Spin would have you believe, fusion doesn't have to be ironic or outrageous in its scope and inclusiveness to remain interesting and relevant. Out of stylistically disparate, but historically connected musics, HiM have created an inspiring and truly original album full of artistic integrity and genuinely imaginative sounds that deserves the attention of any fan of modern instrumental music.