Inc. spins unique version of R&B on debut
While Inc.’s first full-length album draws a lot of inspiration from early 80’s-era slow jams, no world is not your mother’s typical R&B record.
With the recent popularity of down-tempo electronic artists such as SBTRKT and Shlohmo, it comes as no surprise to find that R&B has been collectively resonating on the world’s musical palette, heralding the success of Frank Ocean’s Channel Orange in 2012.
Inc. spins their own unique version of R&B on no world, expertly navigating between elements of classic R&B and 21st century inspirations. The album’s opening track is a perfect example of the harmony that Inc. can create between modern sounds and vintage R&B that Prince himself would be proud of.
“The Place” opens slowly with a soft keyboard melody that becomes punctuated by finger snaps and snare hits so characteristic of modern rap that it’s almost surprising to hear Andrew Aged’s soft voice begin to whisper a bedroom anthem into our ears.
Inc. expertly cultivated such a subdued and vulnerable sound for the entire record that it is easy to overlook just how rich and detailed no world can be, especially for a band defined by the philosophy that “less is more.”
STRFKR’s newest release broadens fanbase
Darlings of the Portland music scene, STRFKR have been making philosophical electro-dance-pop songs since 2007.
Miracle Mile, the band’s latest entry, is an enjoyable listen from start to finish, and it’s an accessible record that anyone from grandma to the kids can boogie to on the wedding reception dance floor.
That being said, fans of STRFKR’s first two albums might find themselves growing bored of Miracle Mile before the record can even finish. Mile sounds too familiar, like the band is scared to cover any new territory on the album. There are exceptions to this rule however, such as “Fortune’s
Pool,” a surprising venture into psych-rock for the band.
Miracle Mile does benefit from the fact that this is the first record by STRFKR in which the entire band collaborated on the writing process rather than leaving it mostly to lead singer Joshua Hodges.
In this regard, Mile relishes in the added input from Hodges’ bandmates: guitar riffs offer more to each song, and the added vocals give necessary depth to Hodges’ falsetto. Hopefully for fans of STRFKR, Miracle Mile marks the beginning of a greater change in the band’s sound instead of returning to old habits.