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For the most part, He Was King emphasizes pop accessibility--and it often does so with catchy, likable results.
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Masterfully bleak and hyper-stylized, He Was King is music for the robot age.
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Unfortunately a whole album of similarly DJ-pitched material, all the quote-unquote pop frills shaved off, wouldn't have allowed blog readers to devote the few days their attenuated attentions can muster for He Was King's singles, before the next this-is-kind-of-okay-I-guess electro-pop album arrives to distract them.
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Q MagazineHis 10th effort is his most focused since 2001's "Kittenz And Thee Glitz." [Oct 2009, p.111]
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He Was King is tasty candy, to be sure. But it's the sort of candy that only makes you want something more substantial. Like cake.
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Felix Stallings Jr. bounces back by sampling, quoting, and paraphrasing other people’s rubbery tunes, and showcasing them in similarly elastic settings.
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Felix’s work has been steadily declining since then, and He Was King does nothing to reverse the trend.
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Ultimately, He Was King is electro-pop on autopilot.
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Take the jokes for what they are and discover that Felix's style-shifting is refreshing at album length. It may even make He Was Kings the finest full-length effort he's ever created.