Prefuse 73, the alias of multi-instrumentalist Guillermo Scott Herren returns with New Strategies For Modern Crime Volume 1. This album seems to be a respectful effort to pay homage to the cinematic soundscapes that shaped the films of the late ’60s and ’70s. With a heavy jazz influence throughout the album, Herren brings the listener into a world of ethereal music blended with elements of hip-hop, creating a unique experimental blend of genres, however at times it can feel uninspired.

The introduction to the album, “Forever Chase” does feel like a chase scene from the era he is trying to pay homage to. The ominous chords played on the keys accompanied by free-flowing jazz drum fills make the song fitting for a film akin to Michael Winner’s 1974 film “Death Wish.” Songs like “Fare La Coma” or “Empath Lords” seem to fit this Noir style that he is trying to emulate very well. In “Fare La Coma” he uses an assortment of horns to create great tension throughout the song and eventually leads to a beautiful saxophone solo that perfectly pierces through the mix, taking control of the song. What Herren does in these tracks is impressive and showcases his ability to let the music speak as loud as words, he does not try anything new which makes the album more pastiche than it does unique.

Norman Connors’ song “Love from the Sun” reminisces the sonic direction of this album. Herren can display that he is an amazing musician with the ability to make great music, but does not push the boundaries of the genre too far. Some songs were a bit drawn out without offering enough to keep full engagement.

The album works best when Herren keeps the length at a minimum, leaving listeners wanting more rather than skipping to the next. The shining star of this project though was the percussion which seemed to be speaking their own language in each track. In “A Lord Without Jewels,” the drums are driving the song with a perfectly in-the-pocket groove, consistently changing between patterns and fills, never allowing one to guess where it will go next. The drums also display Herren’s influences from R&B and hip- hop with Free Nationals-esque grooves on songs like “Desperate Demise.” “Lullabies and Awakenings” also display the ability for the drums to take over the song, driving it through ever-changing fills and tempo changes, syncopating freely throughout the end of the track. Ultimately, Herren proves to yet again be a great musician and a masterful instrumentalist, however, if he could push the boundary of the sound he aims to emulate, the album would not get lost in the shuffle of others like it.