The wait for a debut album by a group you’ve been following for a few years can often feel long. For fans of the R&B trio, KING (who are sisters Amber and Paris Strother and their friend Anita Bias) the wait felt like a lifetime. Since their first EP in 2011, they’ve released songs at the rate of one a year. Luckily KING have stuck with the quality not quantity approach and all their releases have been special. This album contains the previous singles, so at the very least, We Are KING is already half brilliant.
Their latest single, ‘The Greatest’ confidently asks, “Who wants a run with the number one?” before an 80’s Jam & Lewis synth comes in, showing off KING’s funkier side. They are right to have confidence; Paris Strother plays, writes and produces KING’s material. She has a gift for making their music sound effortless, which is impressive considering their perfectionist reputation. Their breakthrough single, ‘In The Meantime’ sounds as compelling as ever. There are hints of Sade as it glides unexpectedly into its rich chorus.
‘Mister Chameleon’ tells the story of fairweather friends and lovers in a playful way while ‘Red Eye’ is mesmerising: there are swirling, layered synths and the twists and turns in the chorus are similar to the best Scritti Politti moments. The newer songs blend with the previously released ones seamlessly – which is rare for a debut album. The whistles in ‘Love Song’ are irresistible and have been stuck in my head since my first play. Often the songs are presented delicately and it feels like KING are sharing intimate secrets with the listener. In contrast, the Prince-like guitar solo on the Luther Vandross inspired, ‘Oh, Please!’ is where KING let loose.
We Are KING is full of warm textures and emotional highlights, but it’s ‘Hey’ that’s the most striking. Vocally it’s led by Bias and is as sensual as something from one of Minnie Riperton’s best albums. The gorgeous, slow-building harmonies are almost overwhelming – especially when she sings, “Even stars burn out/But you held the spark/Here in my heart.” Musically it evokes a calming atmosphere similar to Lauryn Hill’s mighty ‘Ex Factor’. The coda has been added since its original incarnation and keeps the blissful feeling going.
As the remarkable ‘Native Land’ closes, it feels like having just listened to a classic album. The sounds KING create are familiar, touching on various other amazing R&B music, but they still have their own unique sound. I could describe We Are KING as sounding like Quadron’s underrated album Avalanche as if it had been produced by peak-era Stevie Wonder, but that would only scratch the surface of what KING are about. The empowering way they sing about love, paired with the fact they’ve done everything for themselves (on the business side as well as the music) is utterly inspiring. As a listener, we get to feel the love and confidence they radiate and get lost in it for just under an hour. KING haven’t just delivered on their early promise, they’ve exceeded it. This is an exceptional debut.
