This album is full of sass & attitude, but also obviously conveys love. This new album is too amazing for words. 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. Standout tracks include "Biscuits 'N Gravy," "Cobbler, "Floyd," and "Forever Be. And it should've gone so much better. This one can satisfy all hungry soul. What's this? Since her past record, Flesh Tone, Kelis has managed to switch it up again using a theme that is also a main part of her life now, which is food! After listening to the album, I stand not corrected as the album was to be honest, dull. 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. ", This is a truly phenomenal album. 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.

I hope this record gets the. Sitek's smooth-Afropop and soul-adjacent palette largely lets the album down here, too. Pitchfork is the most trusted voice in music. 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. Even if it's a hard sell going to some of the hooks a few too many times—especially when they're as lyrically noncommittal as the placeholder-quality “Gimme what I want/ Gimme what I need/ I'm beggin' you please/ I'm down on my knees” refrain of “Friday Fish Fry”—it's striking to hear a voice you thought might've been familiar over the previous five albums given a new rendition. After listening to the album, I stand not corrected as the album was to be honest. 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. As I predicted, Food was going to be a big disappointment. 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 … - To have you back in my face I guess I just got used to my space 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.

© 2020 METACRITIC, A RED VENTURES COMPANY. 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.

Kelis did something creative with so many inspiration. "Kelis Was Here" was a hodgepodge of R&B, hip-hop, and soulful mess, while "Fleshtone" was a cohesive exploration of EDM. based on 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. 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.

Mais conhecida pelo sucesso Milkshake de 2003, Kelis tem uma carreira praticamente irrepreensível desde a sua estreia em 1999. 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." I suggest Kelis returns to electronic music, because this album is not cutting it. Quatro anos depois, Kelis está de volta a música e ao estilo que sempre carregou com maestria com o lançamento do ótimo Food. Kelis did something creative with so many inspiration. 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. Food's Pop is just a kind of originality. Flesh Tone, Kelis' lone release through Interscope, brought about a pair of Top Five club hits. 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. At its best, there's a touch of Tina-in0'84 snarl to it, a seen-some-shit weariness that doubles back and draws on itself to reinforce her voice's strength. The only track worth listening to was 'Bless the Telephone'. I hope this record gets the recognition it deserves. Every few years it seems like she's had to find a new voice and a new audience to go with it. I was a fan of Flesh Tone, but this new direction comes as a huge improvement. 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). Sempre seguindo no caminho mais R&B/soul a cantora também se arriscou e se saiu extremamente bem no eletrônico com o lançamento do sensacional Flesh Tone em 2010. Sitek, meanwhile, gave Kelis the potential to fit her way into another side of her style and personality that could expand her repertoire—that of the contemporary NYC-native internationalist, the big-in-Europe star rerooted to the Harlem of her youth and reconciling it with the art-school upbringing that made her one of pop's likeliest indie-crossover candidates. If the occasional lapses in songwriting are forgivable, the backgrounding of Kelis' voice is a lot harder to overlook. Generally favorable reviews Likewise, the shuffling and soaring "Jerk Ribs" contains no actual culinary content, rooted instead in a brilliantly drawn memory about her father, where "He said to look for melody in everything" is followed by instantly memorable horn riffs. With all those years passed 33 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. Find album reviews, stream songs, credits and award information for Food - Kelis on AllMusic - 2014 - Flesh Tone, Kelis' lone release through…

Since her past record, Flesh Tone, Kelis has managed to switch it up again using a theme that is also. Strings, horns, and brass arranged by Todd Simon are a major part of the album and match up well with the slightly scratchy and simultaneously sportive and sincere qualities of Kelis' voice.

Food feels like a full-fledged look at the life, pleasures and pains of Kelis, something none of her old records ever really delivered. 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. 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.

It brings out the sweetly nostalgic tint to super-earworm leadoff single “Jerk Ribs", the deeper-than-deep long-distance yearning in Labi Siffre cover/Tunde Adebimpe duet “Bless the Telephone", and the maternal lessons-learned wisdom in “Hooch” (which slyly invokes an epochal line from her ex Nas: “Like your daddy said, the world is yours/ So let it flow naturally”).

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. 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. Listen, this album is everything and this review here proves why FOOD is possibly Kelis' best album and is defiantly already in the running, Listen, this album is everything and this review here proves why FOOD is possibly Kelis' best album and is defiantly already in the running for album of the year! Even if the “Bless the Telephone” cover isn't the most characteristic or innovative cut, it's at least the most complementary—just her, Tunde, and an acoustic guitar all meshing together in a way just as striking as her younger self careening through Pharrell's digital Tilt-a-Whirl.

http://fourplayblog.blogspot.co.uk/2014/04/fourplays-album-review-kelis-food.html, This new album is too amazing for words. "Milkshake" brought that album the attention it needed; take it away, and you're left with an incredibly strong piece of work. 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. Whether making us dance or encouraging us to think, Kelis is always out to fatten us up with her musical menu.

She has a very unique voice, I must say.... Free (& Subscription) Games for All Platforms: New & Upcoming, November Preview: 19 TV Shows & New Movies to Watch at Home, Music title data, credits, and images provided by, Movie title data, credits, and poster art provided by, It's the strangest thing A title that look so normal, but what have a greatest content than other actuality musics. "Food" is one of the most perfect album of the year! 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. "Milkshake" brought that album the attention it needed; take it away, and you're left with an, Kelis' most consistent release since "Tasty." The chameleonic nature of Kelis' voice and her versatility in sonic roles ranging from vintage Neptunes to Raphael Saadiq to David Guetta is her biggest strength, one that's sustained her throughout a career filled with unfair perceptions of her as a producer's plug-in. As I predicted, Food was going to be a big disappointment. Just as eating well should be a sensual experience, this album layers its flavors. This. A title that look so normal, but. "Food" is one of the most perfect album of the year! 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. I don't know how to feel 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. Even when tracks are slowed down, momentum is kept up through classic, subtle funk elements and hints of gospel-music playing behind.

Kelis' most consistent release since "Tasty."

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