Kelis - Food

As the noughties' most perpetually underrated queen of pop, Kelis' career has already been through as many genres and revivals as Rihanna's had albums. It's going to take an awful lot of resolve for this reviewer, however, to move on from her last one: 2010's Flesh Tone and its gloriously produced barrage of club hits such as Acapella, Home and 4th of July (Fireworks) was the perfect marriage between the music du jour (Guetta's prime year) and a unique, highly defined individual style. Why, the outfits from the Acapella video alone made more of a visual impact than the entire ARTPOP experience.

So when, way back in April last year, there came quiet release of 'Jerk Ribs' - perhaps owing to the fact she was inbetween huge American and modest British labels - one couldn't help but feel a little bit concerned. Going back to a soul sound fifteen years into a career often has all the hallmarks of an artist giving up, after all. But then came all of the bizarre stories about Kelis' newfound (although perhaps Tasty should've been a hint) love of culinary arts, and skip a couple of TV shows and own-label sauces, we were finally allowed to tuck into her sixth studio album. It turned out to be quite satisfying indeed.

As far as popstars getting their children in for cutesy cameos go, four-year-old Knight's introduction with 'Breakfast' is certainly one of the more endearing (remember Christina Aguilera's unconvincing Bionic sign-off "who owns the throne?" "you do, mommy!"). "Are you hungry? My mum made food..." he teases, before they playfully shout "ooh-ah"s at each other. The main component of our album opener, though, is a feel-good, for the most part a capella, bit of soul. It might indeed have been an instant smash, were it not for the vocals of Kelis herself: what was once cool and raspy here sounds uncharacteristically flat. She pulls her act together for lead single 'Jerk Ribs', though, and delivers yet another fantastic, career-defining chorus tied together by beguiling instrumental riffs, and unending pomp, a theme continuing into 'Forever Be'. Record producer Dave Sitek - best known for picking out diamonds from chaotic sessions with TV on the Radio - was definitely having a good day when fine-tuning the tremendously groovy 'Cobbler', and the slightly Rubber Soul-sounding second single 'Rumble'.

The less raucuous elements of Food can still be worth exploring; the starry-skied 'Floyd' finds Kelis begging "to be blown away". Certainly worth checking-out is the deliciously sweet cover of Labi Siffre's 'Bless the Telephone', a duet with Sal Masekela that is one of the finest vocal matches of recent memory. Unfortunately, there're a handful of tracks that wouldn't look out-of-place on a Dido record; 'Runnin' in fact sounds a little like the melody to White Flag surrounded by a tambourine, whilst 'Hooch' - strange breathy hook aside - brings to mind nightmares of that Mark Ronson Versions album.

Given the song titles and her recent ventures, one would be forgiven for looking at Food as some kind of weird gimmick, but the truth is that behind such strange titles as 'Friday Fish Fry' and 'Biscuits'n'Gravy' are these vocal diamonds and great jamming sessions. Ominous rattles and tribal chanting lend a Bond theme touch to the snappy, dramatic 'Change', and there's a certain reminiscence of The Sims' construction music about finale 'Dreamer'.

In the end, I suppose comparing Food and Flesh Tone is not dissimilar to trying to compare French and Italian cuisine. Kelis is probably more than capable of both country's repertoires, but is certainly capable of making either album work. The only thing going against Food is the question of whether any of this will be looked back on in ten, even five years time, with the same fondness as every other record she's assembled. I'd like to think we owe it to her.

Rating: 7.5/10
Highlights: Rumble; Cobbler; Bless the Telephone; Jerk Ribs; Floyd
Avoid: Runnin'

Artwork Watch: I get the feeling she designed this herself.
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