1999’s Underrated Album: Kaleidoscope
One project will mark the dawn of a new age. This project is Kelis’ Kaleidoscope.
Despite being known for her undeniable contribution to defining the aesthetics of the early 2000s, much of Kelis’ discography remains a mystery. That is, most people can identify Kelis for her brilliantly daring hair colors and maybe her catchy “Milkshake” jingle if they watched Mean Girls. However, strangely enough, her debut album poses itself as uncharted territory to many. While she claims to have never earned much revenue from the project due to the iniquitous contract she signed at 19, her album, Kaleidoscope is a body of work sold short, yet timeless.
Kelis in “Good Stuff” Music Video via Youtube
Mostly produced by The Neptunes, Kaleidoscope comprises 14 tracks. Space declares itself a prominent theme in this project immediately in the “Intro” through Pharrell’s narration as well as the E.T.-ish noises that interact with Kelis’ genesis. As her character is met by way of this first song, listeners can already sense her eccentric commentary on coming-of-age. Up next in the queue are “Good Stuff”, “Caught Out There” and “Get Along With You”, the only songs coupled with music videos. It is through these high-strung, romance riddled tracks that Kelis reveals that she is confident and riotous, but through a Mezzo-Soprano voice united with prominent drums, she can also be explosively somber.
By the middle of the arrangement, listeners become acquainted with the lingering Afrofuturism, romantic rollercoasters, and overall audial psychedelia of the new, uncategorized sound that Kelis introduces to the upcoming century. Lullaby-like in its delivery, “Suspended” tells us a story of a woman so deep in love, the intensity of her feelings freeze all of time. She blurs the lines between what’s considered real and imaginative perfectly at the album’s midpoint. Her hell-bent demeanor proceeds to shine through on tracks like “Mars” and “Ghetto Children”, where she’s adamant about being the type of person that changes the world rather than the type of person that is changed by it. “I Want Your Love”, “No Turning Back”, and “In The Morning” all explore the irrational nature of love, confirming that the hysteria behind it makes it all the more worthwhile.
Kelis in “Caught Out There” Music Video via Youtube
With features like that of Pharrell, Terrar, and Markita throughout the album, Kelis is able to expand how Hip Hop interacts with a genre not so clearly defined and too insubordinate to solely deem itself R&B. Exploring the type of love that feels like watching a Soprano’s episode on a magic carpet ride, “Mafia” is where Kelis takes a backseat and allows Markita to dominate verses about the type of loyalty that would repel anyone with an aversion to jail time. Similar in execution, “Roller Rink” hisses at Area 51, but can be interpreted in many ways and fuels the youthful spirit effortlessly embedded into each track. Lastly, Justin Vince joins Kelis in gifting listeners with “Wouldn’t You Agree”. The painfully hypnotic ballad wraps the project up with a decaying bow, confirming the end of two beauties: a relationship and an album.
People thought the world was ending around the time this hour-long compilation was released. It was December of 1999 and apocalyptic inclinations were at an all time high. Artists of all kinds — filmmakers, musicians, etc — were operating around the clock to pump out any work that could potentially be gone with life as they knew it. But, for Kelis, her contribution to the world of music was just commencing. With each and every song exploring love of some kind, the album voyages her array of perspectives, ever changing given the circumstances. Each track is an attestation of individuality posing itself as a shape and color to make for a mesmerizing final product: Kaleidoscope.
