Her new labelmates aren't global pop stars, they're cutting-edge producers such as Machinedrum, Actress and Bonobo. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B." As if to prove the point, Food is coming out on British indie label Ninja Tune. Her early work with the Neptunes signalled a new R&B sound, but she tells the Guardian, "I was never an R&B artist. Like method acting? "It's weird, but it's almost like that." "Whatever vibe I'm in, everything morphs into that," she explains. Her new album Food – her sixth – marks her latest transformation from David Guetta-assisted dance diva to indie-soul siren, all bouffant hair and bright vintage dresses, oozing her way across maverick producer David Sitek's bed of big brass funk, gospel, Afrobeat and Spector-esque pop. Then there was the time she looked like a futuristic Statue of Liberty, complete with spiked headband and gold septum-piercing chains, for the publicity campaign of her last album, 2010's Flesh Tone. Or maybe it was when she sucked suggestively on a straw and rapped that her " milkshake brings all the boys to the yard" in 2003. Maybe it was with that bouncing mane of cantaloupe-coloured curls as she hauled furniture across the room, yelling "I hate you so much right now!" over the gnarly digi-funk of 1999's Caught Out There.
E veryone remembers the first time they saw Kelis Rogers.
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