In yet another summer of Gaga’s reign, it’s nearly impossible for any other female artist to avoid the dreaded comparison. For some, like the not-so-Bionic Christina Aguilera, this can be a bad thing. Kelis, however, sets herself apart with her space-age LP Fleshtone. She’s moved away from the Neptunes-fueled strut of Kelis Was Here, and headed boldly into dance territory. The album boasts production credits from house giants such as David Guetta, Benny Benassi, and Boys Noize, and its segues allow it to play seamlessly from beginning to end. You might say it’s smoother than a milkshake.
To be sure, Lady Gaga can make a great club song too. But what’s most noteworthy here is Kelis’ consistency. While Gaga flits among influences, Kelis crafts a cohesive, distinctly dance record; the tempo is high and the synths are pulsing from beginning to end.
“Acapella,” the album’s lead single, showcases Kelis’ new aesthetic at its best: over a tight, robotic Guetta beat, she spins a melodic ode to her son Knight. And on “Scream,” Kelis works it out over a strange-but-cool combo of lilting synths and piano chords. Especially impressive on all the tracks is her ability to shine vocally over the raucous beats; this is no small feat on Benassi’s throbbing “Brave.”
Love her or hate her, you have to hand it to Kelis: the girl is ballsy. An R&B diva making a dance album? With six between-song segues? But taken as a whole, Fleshtone totally works. The tracks offer both an emotional depth and infectiousness that you’d be hard-pressed to hear on “Not Myself Tonight.” If this is the kind of musical landscape Kelis croons about on “22nd Century,” then we can’t wait.
