On the afternoon of Thursday (10), the site Popjustice was invited to hear the first new album in the office of the Femme Fatale, Spears record label, and has released the first official review of the CD tracks. Check out:
Britney's recent history is summed up something like this: written by a famous superstar at the height of its worst moments, Blackout quickly established itself as a masterpiece surprise of singer. The next album was Circus. Despite a wonderful first single, Circus seemed the work of a pop star and she was very little involved at the same time, the victim of some kind of distraction that seemed to have done more harm than good. Circus is not the kind of album that Britney Spears should have done. It was basically not very good.
Well, we heard the Femme Fatale earlier today. And here's some good news: the Circus seems to have been the work of another artist. Here's even better news: Femme Fatale is another blackout. It is an explosion of all the best references on this album - the production means that deranged, spirit dark and heavy, the strong beats and great melodies. And while this may not seem surprising, given that Britney is clearly back to his best now, the first time you hear gives the impression that it is a masterpiece. It's also a relief because Femme Fatale had been the bait to say that times of Britney as a singer were over.
To listen to the Femme Fatale we went to Britney's record label this morning. The songs just arrived in the UK at around 6 pm, having crossed the Atlantic via a download link for internal use by Sony.
For those who were excited by the seemingly symbolic breakdown of dubstep in this Hold It Against Me - and the brand of swinging sex with Bart that appear from nowhere and disappear also from nothing and go with everything - the great news is that the raid on his Femme Fatale is much more than a flirtation. There dubstep in the DNA of this album. It is not as sharp as in Hold It Against Me - they do not stop the music to say "Oh I understand, I am the dubstep" - and Till The World Ends is a band that describes much the sound of the album. With some exceptions, this album is a heavy, dark and with a sound risky. It's a sound you'll hear in Inside Out, one of several songs that are already available as a preview.
Until the age of Will.I.Am, Big Fat Bass - that seemed unbearable at first seemed to advance and strengthen the reputation of the producer to get the worst tracks on (getting spoil) Pop albums beautiful women - is great. We made notes in each music and we had prepared ourselves for nicknamed her "Big Fat Hop Of Shit", but while we listened, we had to leave that aside. It was a surprise because the second sentence that came out of that music reflects much better than the track and the rest of the album because it makes sense.
The compositions - well, they are basically about what happens when you go out for fun and what happens when you go home, and the deeper meaning does not go beyond that. The pop music does not seem to want more songs that describe how great it is: a) go to nightclubs or b) sex, and the Femme Fatale is basically about these two issues, but it seems that Britney can handle it better than the generally poor David Guetta or sense of the horrifying sense of Ke$ha. Femme Fatale is an album with a perfectly sound and clearly defined personality with a dedicated. It's an album for clubbing in the same sense that the Blackout was. With this, it makes you feel like dancing. It's fun. The fun times and made the Circus left.
Some tracks are fast and others slower, but what Britney of Femme Fatale comes closer to a ballad with the band is called Criminal, which has influence on the album American Life, Madonna - sounding a bit like the music Intervention and Love Profusion. A flute and guitar are very powerful. To our ears it sounded like a comedy music and gloomy about a guy who is basically terrible ("he's a killer just for fun fun fun "- He is a killer just for fun, fun, fun) and that its various characters are described in the verses until the chorus comes in with "but ... Mama I'm in love with the criminal, and this type of love isn't rational, it's physical, Mama please do not cry i will b alrgiht, all reason aside Can I just 't deny, I love that guy. " ("But Mom ... I'm in love with a criminal, and that kind of love is not rational, is physical; Mama do not cry, I'll be fine, though I can not deny, I love this guy").
Typing it seems that the letter is a little bad. But it sounds wonderful. Really wonderful. And when it arrives at the half we got a classic - and by classic we mean the album Oops - Britney territory. Coming just before the end of the album, we have a small demonstration of the traditional sound that put Britney on top of pop for over a decade ago. Not like anything that is in Femme Fatale, but, interestingly, is also not shifted. Her new album may be full of one and a half robotic Pop aggressive but at the end of everything, Britney Spears still is.
We'll talk about the album with more details in coming days, but here's an important point: 1. There are no bad songs.
And that's really what you need to know.
Also worth notice: we hear only once, may sound less wonderful to hear several times, but otherwise can sound even better.
This is not exactly a well-written review, and we apologize for that, but if you're still reading we would like to say a thing. From what we've heard this album (and we all heard, including music for deluxe edition) and now we hear the new album, Lady Gaga, they are works that have taken completely different directions, with totally different influences and different goals to two artists who are in totally different stages of their careers. Between them, they offer a fantastic amount of pop music in 2011 and should be viewed as complementary, not contradictory. There is room for both. Let's just try to enjoy it.
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