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From milkshakes to jerk ribs – Electric Picnic-bound Kelis talks music, food and her love of both

Here comes Kelis. After a career of multicoloured musical twists and turns, Kelis is back with a new album “Food” to make her growing interest in all things food. Ahead of her appearance at the Electric Picnic 2014, she chews the fat with Jim Carroll

There are few acts on next weekend’s Electric Picnic bill as suited to the festival’s off-stage attractions as Kelis Rogers. Given the festival’s predilection for fancy grub stalls, Rogers’s growing number of sidelines in the food business means she could as easily have arrived in Stradbally with her food truck as her band.

Rogers parked that particular truck in Austin earlier this year at the SXSW festival where she served up duck and beef sliders and BBQ goat ribs. There’s also her Saucy & Sweet TV show for the Cooking Channel and a line of sauces called Feast. All of this activity comes about on the back of the singer going off to train as a saucier at the Le Cordon Bleu cookery school. Yep, she likes her sauces.

Food was a way of getting her head together after issues with the music business. In 2006, her then label dropped her after the release of Kelis Was Here; back then, it was a case of loving the music but hating the business.

“I didn’t fall out of love with music, I don’t think that I could, but I fell out of love with the business of music,” she says. “I stopped wanting to make music my business.

“But it’s a necessary evil. When you start out, you want to make music and then you discover that you can’t have people hear you or relate to you or share with you if you don’t put yourself out there. As soon as you put yourself out there, all the other stuff happens too and you can’t escape it. You need all the business stuff but you can also live without it and make your own way, as I’ve discovered.”

By then, she had already set herself up as a singer capable of turning pop and R&B on its head. She first emerged in 1999 with the Caught Out There screamer and was one of the first success stories associated with production team The Neptunes before they became all-conquering knob-twiddlers.

In 2003, Milkshake came along and she became the queen of screwy, bassy, off-kilter pop smashes. By the end of that decade, she’d flipped the script again and emerged with Flesh Tone, a dance album aided and abetted by David Guetta and Benny Benassi.

The vintage and the new No surprise then that Rogers’s sixth album is a hop, skip and jump on from all of that. Food contains tracks to make your musical taste buds zing with their rocksteady soundclash of brassy funk, rootsy soul, jazzy blues and Afropop shades. Unashamedly vintage but unmistakably new, Food is full of smart and sassy party jams in thrall to sounds Rogers hadn’t dug out of the BBQ pit before now.

She says herself and producer Dave Sitek were after a certain feeling rather than seeking to emulate any particular sound. “We knew we wanted to do something which felt a certain way. I’m sure there was stuff I heard from being around my parents or my neighbourhood which influenced me, but that was not directly. It was more the essence, the feeling you got when you heard that kind of music, the way it made you feel nostalgic for the good old times. That’s what I wanted.”

Read more at The Irish Times

Nicki Minaj Gets Drunk And Speaks Patois In This ‘Anaconda’ Behind-The-Scenes

In the clip, The Pink Print MC is flanked by dancers as they shake their assets in a jungle-themed set.

The visuals then flash to the dressing room, where Nicki speaks into the camera with Trinidadian patois while sipping from a white cup.

“Are y’all crazy? I’m already drunk,” she says in response to a comment that she might get drunk.

Before the Vlog ends, there is a mystery man speaking in patois. True Barbz will recognize that it’s Drake.

Full story at Mtv

Big In Jamaica: Why Reggae Fans Inexplicably Love Air Supply

Last week, English art&b enigma FKA twigs released her much-feted debut album, LP1. Born to a Spanish mother and a father of Jamaican heritage, and raised in the large Jamaican expat community of Gloucestershire, the artist also known as Tahliah Barnett is a backup dancer turned singer/fashion cipher/abstract electronic producer praised by everyone from Pitchfork to the New York Times for her “monumental debut,” which makes ephemeral dance music “halt and burn into the sense memories and become permanent.” In an underwhelming year for innovative albums, her weirdly elongated neck helps her rise above the pack.

Yet there’s a curious moment on the album’s lead single, “Two Weeks,” that has little to do with the subversive, mysterious, visually disquieting aura she’s carefully cultivated. For most of the song, Barnett entwines her breathless mewls of desire with drum programming that skitters away from a tactile beat. It’s an exercise in delayed gratification. But near the three-minute mark, as she utters the wanton line “Smoke on your skin to get those pretty eyes rolling / My thighs are apart for when you’re ready to breathe in,” her voice follows the melodic contours of Air Supply’s inescapable 1980 soft-pop schlocker “All Out of Love.” Read more