The group's unveiling played like the ultimate game of telephone , with heavy hitters like Prince , Erykah Badu and Questlove passing the word along. KING excels at setting a mood. They are light and airy, high pitched without sounding empty, like a taste of honey more than a shot of drank. The extended version of the song includes an extra two minutes for a plaintive intro that starts on piano, before expanding outwards into a beautifully full texture of harmony and countermelody, organic instruments twisting around shimmery synths, that melts into the beginning of the track. Paris Strother's multi-layered synths and fine percussion are indicative of her Minneapolis roots; those elements jell perfectly with the candy-coated harmonies of her bandmates to create a running formula that works. KING exemplifies the best of pop, the sheer abandon of beautiful melodies, the conquering of heart and soul over your mind.
Three of better ones -- two floating love songs leaving it all behind and a proud, percolating tribute to Muhammad Ali -- are emphasized with front-loading. KING excels at setting a mood. The group's music conjures an all-encompassing, dreamy, Utopian vibe, rather than a mad dash to assemble a who's-who of writers and producers. Paris Strother's multi-layered synths and fine percussion are indicative of her Minneapolis roots; those elements jell perfectly with the candy-coated harmonies of her bandmates to create a running formula that works. NPR's First Listen audio comes down after the album is released. For the last minute and a half that closes the album version of the song, the paired voices that had been spinning around each other in round begin to subsume into the synth-y backdrop, become almost part of the atmosphere as a retro-futurist synthesizer takes lead. Additional singles trickled out slowly, surely. The flashiest they get is with a monologue, some horns, and a guitar solo, all of which appear on the hot-pursuit ballad "Oh, Please! Everything sounds intentional and meticulous. Most of the new tracks are up to the high bar they set for themselves. Little bits of pop hits from decades past sneak into the textures—a flourish from an electric piano, a handclap or bell-like chime, and even the occasional saxophone seeping in. The album sounds like it comes from several decades ago and the future while remaining grounded in the immediacy of now. All three songs, measured and spirit-lifting in nature, radiated warmth through rich harmonies and crafty programming. The output, however, is cleverly dispersed throughout the sequence, with all of the EP cuts appearing as extended versions that enhance flow. It creates, rather than a collection of songs, a constant vibe, a welcoming and sensual one, that wraps you in a blanket. They sound retro, warm, smooth and silky, escaping from the dark atmospherics that have typified the genre of late. But if it loses its mind, its brain remains intact. What more could you ask for? The extended version of the song includes an extra two minutes for a plaintive intro that starts on piano, before expanding outwards into a beautifully full texture of harmony and countermelody, organic instruments twisting around shimmery synths, that melts into the beginning of the track. For those who have been aware since the beginning, the album might seem anticlimactic. Bringing Warmth Back to Soul: Only seven of the 12 inclusions are completely fresh. The three tracks were the first the women had ever recorded together. KING does an incredible job of using the studio like an instrument, but in a way that never loses sight of the organic power of the human voice. They also put it out themselves, and only when it's ready. Like the best of the genre, KING is bedroom music. Anita Bias and Amber Strother's contrasting tones shine brightest in the album's finale, "Native Land," wherein Strother returns frequently a line that perfectly describes KING's journey thus far:
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