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The album’s latter half treks far more interesting terrain: “Change” mixes “ White Rabbit”-esque brooding with James Bond-theme theatrics, the tidy piano riff of “Biscuits’n’Gravy” is interrupted by a rousing horn section, while “Rumble”’s one-line chorus (“I’m so glad you gave back my keys”) and balmy atmosphere demonstrates a serious progression from the senseless post-break-up rage of “Caught Out There”.ĭave Sitek’s warm, honeyed (if occasionally identikit) production fits Kelis’s voice like an oven-mitt. The record kicks off with a triptych of sunny, well-meaning mashes of soul-driven funk – including last year’s “Jerk Ribs”, which still shimmers like a lost Jackson 5 classic – but these are almost a clearing of the throat. On “Floyd”, a shoegazer in the spirit of The Dark Side of the Moon’s more downtempo moments, we find her at her most co-dependent: “Sure I’m self-sufficient / Blah blah, independent / Truthfully I got some space I want that man fillin’.” More than a renouncement of her autonomy, Kelis’s sixth record is instead a celebration of our most carnal instincts, which she kindly boils down to fucking and dining over the course of thirteen tracks. Alas, fifteen years on from her debut single “ Caught Out There” becoming a neo-feminist anthem, FOOD sees Kelis don the persona of a soulful hausfrau. Of all the noughties R&B divas to pre-empt every misogynist’s favourite punchline and get back in the kitchen, Kelis Rogers seemed the most unlikely. Available to buy from April 21st on Ninja Tune Records.