Quatro anos depois, Kelis está de volta a música e ao estilo que sempre carregou com maestria com o lançamento do ótimo Food. The certified chef's references to food are abundant, but they're all used as a way to help illustrate a set that is principally about a blossoming relationship and positive reflection. If music be the food of love, Kelis has cooked up something tasty enough to satisfy all but the hungriest of hearts. Food feels like a full-fledged look at the life, pleasures and pains of Kelis, something none of her old records ever really delivered. A title that look so normal, but. Released on U.K. label Ninja Tune, Food sports a cover that doesn't seem nearly bright or colorful enough to reflect its sound -- an eclectic and modern-sounding synthesis of classic pop and rhythm & blues with a lot of friskiness, some funk, and even a little twang. Um desses artistas com certeza seria a cantora Kelis. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan, The Raging Wrath Of The Easter Bunny Demo. To have you back in my face During the album's second half, the celebratory spirit is temporarily interrupted by a surprising acoustic diversion -- a straightforward cover of folk love song "Bless the Telephone" (1971), originally written and recorded by another classification-defying artist, Labi Siffre. 33 With all those years passed If the occasional lapses in songwriting are forgivable, the backgrounding of Kelis' voice is a lot harder to overlook. "Food" is one of the most perfect album of the year! Food é o tipo de álbum que precisa ser ouvido integralmente para poder desfrutar todas as qualidades, mas tenho que fazer uma observação: no começo da faixa Cobbler é possível ouvir vozes femininas e, depois, da Kelis falando em português. I hope this record gets the recognition it deserves. One of these days there'll be the definitive retrospective written about how Kelis somehow managed both a solid run of great songs and an impenetrable run of rotten luck. I suggest Kelis returns to electronic music, because this album is not cutting it. Kelis did something creative with so many inspiration. And it should've gone so much better. This new album is too amazing for words. I was a fan of Flesh Tone, but this new direction comes as a huge improvement. While it remains almost impossible to dissociate Kelis and early collaborators the Neptunes, it's more difficult imagining a better creative alliance -- at this point in her career, at least -- than the one that shines here. "Milkshake" brought that album the attention it needed; take it away, and you're left with an incredibly strong piece of work. A title that look so normal, but what have a greatest content than other actuality musics. For most of the remainder of Food, she seems adrift, distantly in the middle of nowhere even as she's surrounded by orchestration on all sides. Se eu pudesse fazer com que todos que leem esse humilde blog seguisse de fato minhas dicas, eu iria criar uma lista de dez artistas que você precisa escutar e gostar. As I predicted, Food was going to be a big disappointment. It's to Kelis' boundless credit that she can make the twee screw of “Floyd” or the passive attack trip-hop of “Runnin” feel warmly human just by doing her best to overpower it--even as the music tries, and nearly succeeds, in overpowering her.

Every few years it seems like she's had to find a new voice and a new audience to go with it. Pitchfork is the most trusted voice in music. It's to Kelis' boundless credit that she can make the twee screw of “Floyd” or the passive attack trip-hop of “Runnin” feel warmly human just by doing her best to overpower it—even as the music tries, and nearly succeeds, in overpowering her. ", This is a truly phenomenal album. On the rollicking Afro-beat-touched "Cobbler," Kelis coos, "You make me hit notes that I never sing," and it somehow seems totally justifiable to have a background singer trail the line with "She never sings these notes" and a Deniece Williams-like flourish. I don't know how to feel "Food" is one of the most perfect album of the year! It's definitely not the tough, coyly defiant, independently minded kick-in-the-ass that her top-flight vocal performances made famous, though there are still flashes of it for emphasis. Flesh Tone, Kelis' lone release through Interscope, brought about a pair of Top Five club hits. The creatively restless singer and songwriter nonetheless quickly moved on to working on her sixth album with a handful of U.K. garage and dubstep producers, including Skream, whose 2013 "Copy Cat" featured one of her most clever (and slightly creepy) turns. I guess I just got used to my space

One of these days there'll be the definitive retrospective written about how Kelis somehow managed both a solid run of great songs and an impenetrable run … Kelis' most consistent release since "Tasty." Generally favorable reviews Whether making us dance or encouraging us to think, Kelis is always out to fatten us up with her musical menu. She changed course again and teamed up with TV on the Radio's Dave Sitek, whose Los Angeles house hosted loose recording sessions with an atmosphere that, according to Kelis, was "like a freakin' commune." The first line of the opening "Breakfast" -- "I wanna say thank you, you've been more than just a man" -- is more an indication of the album's theme than its song titles. I'm not kidding when I point out that “Jerk Ribs” is as catchy a pop concoction as anything someone of the 21st Century indiesphere has done, the sort of buoyant interplay of slinky bass-percussion rapport and joyously martial brass this kind of windows-down-sunroof-open vibe demands. Even when tracks are slowed down, momentum is kept up through classic, subtle funk elements and hints of gospel-music playing behind. Just as eating well should be a sensual experience, this album layers its flavors. I was a fan of Flesh Tone, but this new direction comes as a huge improvement. This one can satisfy all hungry soul. The only track worth listening to was 'Bless the Telephone'. But the majority of the album sinks into an indistinct mellow R&B feint that falls dangerously close to a soundtrack for young attractive people beaming down at smartphones during a "Mad Men" ad break. Critic Reviews based on Kelis did something creative with so many inspiration. In that respect, even a move like getting Dave Sitek to produce your album on a label best known for Amon Tobin isn't excessively out-of-nowhere. That new, strange rasp of hers is subsumed under layers of Sitek studio trickery: pushed back by horn sections when it should be riffing off them, given reverb that makes her sound more blurry than ethereal, multitracked or given backup harmonies in a way that dulls the intriguing edges of her voice. Now, we're back to soulful R&B, vintage production, meaningful lyrics, and strong vocals from Kelis, a voice that sounds like it's deep-fried and downed with a pint of beer and finished off with a cigarette (seriously, someone should patent that vocal tone). Food is another sad testament to how the squares have won and how we’re all likely to capitulate at one point or another to the dictates of the majority. This album is full of sass & attitude, but also obviously conveys love. "Kelis Was Here" was a hodgepodge of R&B, hip-hop, and soulful mess, while "Fleshtone" was a cohesive exploration of EDM. © 2020 METACRITIC, A RED VENTURES COMPANY. The sixth full-length studio release for the New York R&B singer was produced by Dave Sitek with guest appearances from CSS and Priscilla Ahn. After listening to the album, I stand not corrected as the album was to be honest, dull. http://fourplayblog.blogspot.co.uk/2014/04/fourplays-album-review-kelis-food.html, This new album is too amazing for words. Kelis' new Food—produced by TV on the Radio's Dave Sitek and released on indie Ninja Tune—shows the singer in unusual form: ragged, raspy, somewhere between exhausted from effort and deep in reflection.



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