Incubust?

                Whilst millions doubted where the hell their favourite bands were, some took comfort in the fact that Incubus had something planned for the summer of 2011. If Not Now, When, their seventh album was something to look forward to if the lead single Adolescents was anything to go by. A walk down familiar territory with a soft gradual build up that paved the way for some kind of screamy chorus, the track whet the appetites of those who missed their favourite intelligent rock band.

                 The album cover art features some kind of high-wire balancing act, which proved quite ominous after the initial listen. Sure, Adolescents was Incubus sounding like…Incubus, the mainstream version if you will, with a guitar and drums intro that paves the way for a bassline that glues everything together. Pay attention to the choice backing vocals from multi-instrumentalist Ben Kenney in the chorus. The song’s outro demonstrates that the boys still remembered a thing or two about songwriting from their Morning View days. Known as much for their pretty lead singer as for their intelligent music and lyrics, by the time they were famous, the band weren’t recording the kind of tunes that featured on their grassroots efforts Fungus Amongus and S.C.I.E.N.C.E. There were instead songs of lost love, long distance love, outer space love and the love of life and awareness. The trend continued with their subsequent albums, but they seemed to be gaining new fans in equal proportion to the fans that they were losing. So where then does their seventh album find them now?

If Not Now, When - The title track and album opener begins with violins before a steady drum beat and an 80s-inspired bassline takes listeners to Brandon’s brilliant, introspective lyrics that are replete with picturesque metaphors. This album signals an unprecedented shift to more mature territory. The lyrics to the title track in particular are somewhat empowering, encouraging listeners to act upon a long postponed dream or wish. Keep an ear or two out for the glistening crescendo with some delightful instrumentation at 3.59. Fans know from the band’s earlier albums that they are well and truly capable of some fast paced musicianship, but throughout the album listeners learn that Incubus seems willing to do what it takes to serve the song best. Maybe not the best choice for album opener.

Promises, Promises - An affable love tune that was probably born of a piano-playing session. People might enjoy the light tambourine sounds in the chorus, along with Einziger’s ska style upstrokes in the verse.

Friends and Lovers - One of the album’s standout tracks with lush arrangement and a perfect soft drum landing at the end of each chorus. Any doubts about Brandon’s remarkable pensmanship are all assailed with lines like “What’s wrong with you is good, for what’s wrong with me.”

Thieves - This track leaves behind filler aftertaste. It might convince you that this belongs on some kind of Alanis Morisette homage album. Skip.

Isadore - Radio friendliness at its catchiest and best. Music fans will enjoy skillful song construction with a verse, pre-chorus, chorus structure that builds tension that makes the release so much sweeter. There’s some kind of lesson in the lyrics apparently.

The Original - Some effective minimalist guitar work in the intro and verses. A steady bassline and drumbeat provide the meat of this song. Evidently the love theme continues and there's some quality backing vocals in the chorus that itself grows on listeners. Don’t be surprised if you find yourself singing along. Another noteworthy point is the epic climax which begins at 3.20 and ends with a guitar tone and riff that takes a page out of the earlier Third Eye Blind songbook.

Defiance - Distortion fans might vomit all over this one, but the bare bones singer-guitarist ditty is actually an endearing marriage with honest, unpretentious guitar and catchy howling. Why does it sound so much like Chris Cornell's Just Like Suicide? Hmmm.

In the Company of  Wolves - A showcase of Incubus’ impressive approach to writing some classic rock tunes. I might be bold enough to say that if there was no Coldplay and indeed no Pink Floyd this track would not exist. The vocals reflect an honest vulnerability, while each musician is on top of their game. Part 2, that begins at 3.14 will more than likely make hairs on the back of your neck stand, especially if headphoned and comfortably unsober. From 3.56 till the track ends the band takes listeners on an epic ride serving up some scintillating jazz piano just for good measure. Get your lighters out.

  

Switchblade - This convinced me that it was some kind of B-side from the Light Grenades era, which is evident from its nearly non-existent appeal.

  

Tomorrow’s Food - Another exercise in minimalism, this comes off as apt background music for indie films about travel. Listeners will take note of the use of vocal harmonies, but this time it doesn’t quite sound as persuasive as a Cornellian composition. Mild percussive elements underline the song’s meanderings into a dream segue. Comparable to the score of a new and wonderful drug experience, the song once again features violins towards its end.

Engulfed in maturity and mind expansion If Not Now,When’s soft pop love songs might speak more to people who are in love, rather than lust. It doesn’t quite rock hard but it might impress fans who have grown up with the band.

Incubus' latest album...a balancing act