"The long-awaited follow-up to 2011's "If Not Now, When?", "8" is the aptly named eighth studio long-player from the mercurial, Southern California-based hard rock/ex-nu-metal quintet. Co-produced by EDM/dubstep heavyweight Sonny John Moore, better known by his stage name, Skrillex, the 11-track set dials back on the synth-heavy, AAA pop/rock stylings of their previous outing in favor of a more streamlined, guitar-driven approach that should please fans of their earlier work. Front-loaded with a trio of in-your-face, melodically and emotionally charged haymakers ("No Fun," "Nimble Bastard," and the radio-ready "Glitterbomb"), 8 gets off to a rowdy start before exploring moodier territory on the brooding and anthemic "Undefeated" and the dark, electro-charged "Loneliest." On first spin, 8 hits a lot of familiar beats, but given time to unfold, later cuts like "Love in the Time of Surveillance" and the nervy, angsty closer reveal some decidedly complex layers of sonic architecture." (J.C. Monger, Allmusic)
"Hun mini-debuut was een mix van hardcore-crossover, zwoele zomeravondfunk en reggae. Nu gooien ze er nog meer bij, o.a. jungle, latin en hiphop, gemengd met zware grooves en vette scratches. Heavy, superverrassend en creatief." (PO, Oor)
"Hun 3de, met opnieuw die sound, die 't ene moment uiteenspat van energie en 't volgende overgaat in subtiele rustmomenten. De zanger, met stem die overloopt van emotie, vult dat perfect aan. Nieuw zijn de oosterse experimenten." (AvL, Oor)
Een mix van freakerige funkrock, swingende hardcore-grooves, stevige gitaarriffs, scratches, vreemde geluidsfragmenten en Afrikaanse percussie. Toerden met Korn en Urge door Europa, daarom een bonusplaatje met unieke liveopnamen van alledrie.
"To commemorate their 20th anniversary in 2011, Incubus literally set up shop, renting out a storefront in LA and dubbing it their HeadQuarters. Incubus' intent was to use their past to showcase their present. Over the course of four nights they dug deep into their past, playing much of their early albums and excavating a few non-LP rarities, eventually weaving in stuff from their new album, "If Not Now, When?". This DVD/CD-set culls highlights from these nights, picking a few hits but largely relying on songs known best to diehards. This suggests that this is only for fans, but this bare-bones, intimate setting plays to Incubus' strengths. They sound lean and sinewy, eschewing bombast for nimbly shifting tempos and mood, never succumbing to the moody meditations that occasionally drag down their studio work. The result crackles with energy yet also illustrates the finesse in this sometimes underrated band; stripped down to the basics, their imagination and intensity shine brightly." (S.T. Erlewine, Allmusic)
Rerelease van hun debuut uit 1994, nog meer in de richting van de toen nog vrij actuele funkmetal van Living Colour en Primus. Het klinkt allemaal nog wat embryonaal: van echt lekker lopende grooves of sterke songs is geen sprake.
"De crossover-metal is afgezworen ten faveure van een organisch geluid; denk aan U2, REM en de latere Chili Peppers. Regelmatig is er prachtige samenzang in de refreinen, wat met sfeervol gitaarwerk een dromerige ambiance geeft." (PZ,Oor)
Fans van het eerste uur zijn door de leden zelf al netjes gewaarschuwd: Incubus is door de loop der jaren heel andere muziek gaan maken. Coldplay is een van de belangrijkste inspiratiebronnen geweest tijdens het ontstaansproces. "Seizing their extended half-decade hiatus as an opportunity to reinvent themselves, Incubus dive headfirst into a comfortable middle age on their seventh album. With the assistance of producer Brendan OBrien, theyve turned down the guitars and ratcheted up the synthesizers, trading roiling angst for occasional spells of moodiness, deciding to settle into a warm, textured adult pop that occasionally recalls nothing so much as Neil Finn at his spaciest. Theyre spry enough to sound convincing on the clatter of Switchblade, the guitars dont soothe so much as evoke desolate landscapes, vocalist Brandon Boyd still favors some unsettling lyrical imagery -- but the end result is an album on a shaded, comfortable grayscale." (Stephen Thomas Erlewine, Allmusic)
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