“Emancipate yourself,” she repeats on the anthemic Emancipation, which could have been an old Madge track, reminiscent of a disco remix of Express Yourself. The track grooves at 200bpm and unleashes her emotions: “Stuck in a race in the wrong line… And I haven’t had faith in a long time” are the sort of lyrics which reflect her inner demons. “Let’s get to it/ Now you’ll prove it” channels Vogue in Scream. Madonna seems to have been an inspiration.
Melodies alternate to create three sings in one. Its bold beats makes you want to go clubbing and dance your troubles away, much like 4th Of July (Fireworks). The space age synths on Home cut like a blade. 22nd Century ushers in an exhilarating sound that gradually builds up, and this is a crucial part of all the tracks. Kelis’ take on electronic music soars high and creates a mood, often sci-fi, almost always carnal and incessantly exuberant. If the first single Acapella is anything to go by, gyrating staccato beats have the intention of throwing you into a groove.
As she announces on opening song Intro (not to be confused with an actual intro, for this is a full-length song): “We control the dance floor.” Think a cross between Giorgio Moroder-era Donna Summer and ’90s dance music and fast forward a couple of light years. Its rich layers uncover pulsating hooks and infectious beats. took a rather aggressive approach, Flesh Tone is multidimensional.
While the Peas’ Eurodance album The E.N.D. Who said electronic music was cold and lacked emotion? Kelis’ husky voice conveys her innermost feelings and never allows the synthesizers to upstage her. On her fifth album Flesh Tone she redefines her sound, teaming up with producers will.i.am, Boys Noize and the ultimate Eurodance icon David Guetta to make her own confessions on a dance floor. This oft underestimated diva broke new ground in R&B a decade ago, defying the genre with Kaleidoscope. The Black Eyed Peas successfully made the jump to Eurodance last year, while Madonna tests uncharted musical waters on every album. Transition for artists is often a risky business.
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