HIMNew FeaturesReview

HIM have been a low key, almost shadowy presence on the much hyped Chicago music scene in the six years or so they've been active. Put together in 1995 as a solo project by sometime June of 44, Rex and Codeine drummer Doug Scharin, HIM have put out an album a year with all the typical Chicago ingredients; a bit of dub, a bit of jazz, a drop of ethnological forgery; they've even had a few Tortoise members on board at one time, but haven't seemed to garner the same recognition as their peers. Which is a shame, as Scharin is one of the most individual and powerful drummers around and can create the kind of loose limbed, multidirectional propulsion that Tortoise can only hint at. So, what are they doing on the Jazz page then ?

New Features follows on from last year's Points of Departure, which played down the dub inflected studio treatments of earlier records in favour of a more live, open ended group feel, but this time around the group is more expanded, the arrangements are tighter, the overall sound is softer and more melodic. And it sounds like, er, jazz...

As on Points, long time Scharin associate Fred Erskine's precise, economical bass playing locks with the leader's Sly Dunbar-meets-Tony Allen drumming to create slinky, infectious grooves which will provoke involuntary booty shaking in the most inert of listeners. Langorous horns, ticking guitars and muted keyboards have been added, sketching out long, graceful arcs of melody over the bubbling rhythms. It's exciting, dynamic stuff, with a freshness that belies its influences and displaying a refreshing lack of irony.

Unfortunately alto saxophonist Carlos Cennano doesn't really have either the tone, the ideas or technique to convince as a soloist, and (as on Points) Scharin gives him an amount of space that's in inverse proportion to his abilities. While he's not as bad as say, Van Morrison, and his playing does work as texture when Scharin gets busy with the dub, it's tempting to wonder what someone like Henry Threadgill could do over the tumbling, skittering rhythms of the otherwise brilliant 17 minute "In Transition''.

Still, everyone else turns in fine solos and group playing, and repeated listenings reveal a wealth of detail due to Scharin's undoubted skills at the desk, which gives the music here a lush, expansive feel. The more traditionally dub inclined fare of "Clouds" is a joy; graceful, echo soaked trumpet emerges through, well, clouds of delayed guitars over Erskine's restrained, deep in the pocket bassline, while "Were Once" has the warm, oceanic groove of Can's Future Days fused with the drift of Miles Davis' "He Loved Him Madly". Gorgeous.

The only clanger is the closing "Sea Level", an attempt at mid 70s Miles funk brutality which fails to convince despite some fine drumming. Scharin has certainly got it in him to make a great record; this isn't quite it, but he's on the way. Worth a listen.