Lion Babe: Just the Beginning

Music Review: Begin, Lion Babe (Feb 2016, Outsiders Recorded Music/Polydor)

In 2012, Lion Babe (a.k.a. Jillian Hervey and Lucas Goodman) released “Treat Me Like Fire,” an instant underground hit, introducing a fresh sound that fused the best of electronic production, raw rhythms, and soulful vocals. The strength of that one track led to a record deal and a subsequent EP in 2014 (Lion Babe, Outsiders/Polydor).

Two years later, their much-anticipated full-length album has arrived. It delivers what fans expected and then some. Tracks like “Satisfy My Love” and “Got Body” are similar to their prior releases and round out the album.

What’s entirely new here are two very different tracks that reveal a depth in this duo, foretelling their longevity. “Little Dreamer” is an etherial lullaby with sparse accompaniment by a haunting steel string guitar. Meanwhile, “Where Do We Go” is a juggernaut of a pop song, with strong disco influence and a driving dance beat.

At first, I thought “Where Do We Go” was a wrong turn, making mainstream music from a source that was so refreshingly original. But listening to Begin from end-to-end, I had a change of heart.

It’s promising, in fact, when an act like Lion Babe builds from a single hit, proves they can deliver consistently on their breakthrough sound, and goes on to innovate new styles.

It will be interesting to see what direction they take next. Lion Babe has proven – they have the chops to do it all.

KING: We are Amused

Music Review: We are King, KING (King Creative LLC, Feb 2016)

I’ve been waiting for this album for five years. KING released an EP in 2011 called The Story (KING, 2011) and the three songs therein were so instantly great that more had to come. The universe would demand it.

Finally released, We Are King, delivers more of the same brilliance as their debut. Paris Strother, Amber Strother, and Anita Bias are extraordinary songwriters and vocalists. Collectively, they have a discerning ear for great production. If Anita Baker were to co-write an album with Jill Scott and then had it produced by Quincy Jones and Babyface Edmonds, it might come close to We are King.

The album features seven previously unreleased tracks as well as their prior EP and single releases, including reworks of the three songs from The Story. KING’s songwriting doesn’t wane at all across the album. Each track is imprinted with KING’s signature sound: lush electronic arrangements, layered vocals, and chord changes so pleasing, they seem handed down by musical divinity.

The fact that KING has self-published their music to date might explain the length of time it took to produce their full-length debut. On the other hand, the unrelenting quality in their body of work may also suggest a commitment to musical consistency that forced them to take the time they needed to produce something to their standard.

Whatever the reason, the wait has been worthwhile. The depth of We Are King is such that fans will have plenty to indulge in while they wait for KING’s next reign.