Tuesday, March 29, 2011

Britney Spears - Femme Fatale: opportunism mail, and impersonal

Britney Spears is one of the artists with more ability to survive all kinds of disasters and personal record. Reemerged as those mythical phoenix in MTV VMA who left speechless half the world and one of the preceding spectacular returns of commercial pop of the decade. Blackout we discovered an ex lolita able to laugh at themselves and those who hate it without getting the least amount and over smart enough to enjoy and to enjoy at the same time.

The bellows is deflated slightly Circus, a part of the tracklist tended to dispensable and almost put aside what he had achieved with his previous work. Two and half years were needed to let this record was going to second place and reach the right time to get new material. One of the main problems I see in the commercial music of the past year is that virtually unquestioned sovereignty of electronics that is causing one after another, the mainstream divas fall into their networks generally with little success.

Femme Fatale is the bet of Britney Spears to return to stand at the head of the troupe. In a market that has always been fiercely competitive but with this new wave style has become a real fight in the mud between the candidates and settled down and nothing to lose, which was once undisputed princess of pop has been known weather the storm and give birth to an album that will not be the best of his career but also will move to the country from oblivion, far from it.

One of the things that attracted the most attention at first listen Femme Fatale is that almost any song could be a single or directly be heard at the meeting turn untimely hours of the morning. Within this cocktail of electro, dance and electronic touches, the clear goal is not to create a coherent compilation, that of having a specific narrative or simply developments are along the tracklist, but one after another experiences happen all under a tinge too similar and that makes the songs much more interesting loose together.

Britney Spears has decided to exploit the full potential of this disk in the face of the dance floor and has sacrificed the unity and the discourse on the altar of commercial revenue. Perhaps the play will go extremely well, as one can find a delicious peccadilloes as 'Big Fat Bass' with will.

i. am. On the other hand, greatly appreciates the absence of baladones tasteless that do appear in the vast majority of discs Spears - although I must say that, if you match, you do a full -. It can reduce the pace in one of the best cuts of the album, 'Inside Out', which will hopefully appear as a single complete scouring of the two we already have on your back, 'Hold It Against Me' and 'Till The World Ends' .

Britney Spears has never had a great voice, but enough skill - and arrangements - to have a very distinctive timbre and efficient enough to fight the battles with some grace. This strength is unfortunately lost in Femme Fatale, where e is covered varnish to the point where his voice becomes almost anonymous.

The simplicity also in most of the cuts is such that, coupled with the anonymity vocal, the feeling that any artist could interpret with the same resolution as the owner. On the other hand, Femme Fatale sin as a whole to be a compilation of songs of great similarity among themselves, with no major variations or catharsis reached a crescendo after the tracklist.

It is simply a sequence after another from different points of view of the same idea, and all under a common tone that makes listening to them a gray afternoon. Entertaining, yes, but at times are recursive and eventually saturate, as is the face of the second half of the disc with tracks like 'Trip To Your Heart'.

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