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So the new Kelis album is officially ridiculously good.

You’re probably already aware of killer lead single “Acapella” and above I’ve attached second single “4th of the July (Fireworks).” I was totally unprepared for this amount amazingness from Kelis, to be honest. Having never been a huge fan of anything she’s done (except maybe “Lil’ Star“) I had actually previously dismissed Kelis and more specifically argued her irrelevance with a friend of mine in England.


“Fleshtone” is AMAZING! It’s a supremely concise eight tracks (plus an intro) that manages to pack an almighty auditory wallop. Ridiculously uplifting, outrageously structured dance music litters the aural landscape that is Fleshtone, which is essentially a forty minute ode to Kelis’ daughter. In managing to cleave such personal lyrics with such left of centre electronic music Kelis has created one of the most original albums in recent memory, and in keeping the collected tunes so tightly focused it’s cohesive almost to the point of being a concept album.

That description got a bit out of hand there, didn’t it? Either way, the point is this album is amazingly ridiculous and ridiculously amazing. From the spoken word intro and subsequent yelled chorus on “Emancipate” – “Let me tell you what love is, it’s when you meet eachother halfway I’m en route: EMANCIPATE YOURSELF!” – to the electro breakdown on “Scream” and the pulsing synths on “Brave” it’s all fantastic. She’s even able to pull of a track called “Song for the Baby” which by a lesser artist would come off as totally cloying (I’m looking at Mel B). Kelis really doesn’t put a step out of place here.

Well-played Kelis, well-played.