The boundaries between rock and roll and more funky musical concerns have often been very far apart, distant strangers at best. The former is generally content to be rigid, bombastic and dense, the latter groovesome, danceable and seductive. Few have managed to bridge the gap between these two worlds; perhaps only Prince springs to mind as someone who has done that without alienating followers of one or the other genre and also used it to build such a high profile.

Well, now you have Kellindo, and Sugar is a perfect example of how you build such sonic bridges. It is sultry and spacious yet fuelled by raw and raucous guitar blasts. It blends clubland grooves with string-washed interludes, rock swagger with soulful sass, and pop awareness with something defter and, occasionally, more delicate.

We keep hearing that we live in a post-genre world where genres mean little and musical boundaries are treated with disdain. But there seems to be very little proof of this new found freedom in action. Well, now there is. And now, when people say that there will be no one of the likes of Prince passing this way again, you can justifiably say,” hang on a minute, have you heard of Kellindo?”

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Musician, scribbler, historian, gnostic, seeker of enlightenment, asker of the wrong questions, delver into the lost archives, fugitive from the law of averages, blogger, quantum spanner, left footed traveller, music journalist, zenarchist, freelance writer, reviewer and gemini. People have woken up to worse.

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