HiM
New Features
[Bubble Core]
Rating: 8.0
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.
-Michael Wartenbe