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Femme Fatale
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Femme Fatale
Current price: $7.99
Barnes and Noble
Femme Fatale
Current price: $7.99
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Size: CD
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The aftermath of
Britney Spears
' 2007 freak-out and
Blackout
wound up with her ceding control of her personal and professional life to her father and producers, respectively, leaving her as no more than a figurehead of an enterprise. Of course,
Brit Brit
had essentially been the face of a carefully calibrated pop machine for years, but every element of that contraption hinged on her persona, the songs and the sound fitting her evolution. Starting with
,
Britney
started to slip into the background on her own records, a progression that continued unabated on
Circus
and finds some kind of culmination on 2011's
Femme Fatale
. Essentially a cleaner, classier remake of the gaudily dark
is a producer's paradise, each cut decked out with stretched vocals, glassy keyboards, and insistent beats, all coming together in hyperactive arrangements that shift every five seconds. Sonically, it's all surface style, driven by sound and given shape by hypersexual lyrics.
dutifully steps through the paces, singing enough of the words so they can be tweaked in the computer, never getting in the way of the producers, who deliver a showcase. ~ Stephen Thomas Erlewine
Britney Spears
' 2007 freak-out and
Blackout
wound up with her ceding control of her personal and professional life to her father and producers, respectively, leaving her as no more than a figurehead of an enterprise. Of course,
Brit Brit
had essentially been the face of a carefully calibrated pop machine for years, but every element of that contraption hinged on her persona, the songs and the sound fitting her evolution. Starting with
,
Britney
started to slip into the background on her own records, a progression that continued unabated on
Circus
and finds some kind of culmination on 2011's
Femme Fatale
. Essentially a cleaner, classier remake of the gaudily dark
is a producer's paradise, each cut decked out with stretched vocals, glassy keyboards, and insistent beats, all coming together in hyperactive arrangements that shift every five seconds. Sonically, it's all surface style, driven by sound and given shape by hypersexual lyrics.
dutifully steps through the paces, singing enough of the words so they can be tweaked in the computer, never getting in the way of the producers, who deliver a showcase. ~ Stephen Thomas Erlewine
The aftermath of
Britney Spears
' 2007 freak-out and
Blackout
wound up with her ceding control of her personal and professional life to her father and producers, respectively, leaving her as no more than a figurehead of an enterprise. Of course,
Brit Brit
had essentially been the face of a carefully calibrated pop machine for years, but every element of that contraption hinged on her persona, the songs and the sound fitting her evolution. Starting with
,
Britney
started to slip into the background on her own records, a progression that continued unabated on
Circus
and finds some kind of culmination on 2011's
Femme Fatale
. Essentially a cleaner, classier remake of the gaudily dark
is a producer's paradise, each cut decked out with stretched vocals, glassy keyboards, and insistent beats, all coming together in hyperactive arrangements that shift every five seconds. Sonically, it's all surface style, driven by sound and given shape by hypersexual lyrics.
dutifully steps through the paces, singing enough of the words so they can be tweaked in the computer, never getting in the way of the producers, who deliver a showcase. ~ Stephen Thomas Erlewine
Britney Spears
' 2007 freak-out and
Blackout
wound up with her ceding control of her personal and professional life to her father and producers, respectively, leaving her as no more than a figurehead of an enterprise. Of course,
Brit Brit
had essentially been the face of a carefully calibrated pop machine for years, but every element of that contraption hinged on her persona, the songs and the sound fitting her evolution. Starting with
,
Britney
started to slip into the background on her own records, a progression that continued unabated on
Circus
and finds some kind of culmination on 2011's
Femme Fatale
. Essentially a cleaner, classier remake of the gaudily dark
is a producer's paradise, each cut decked out with stretched vocals, glassy keyboards, and insistent beats, all coming together in hyperactive arrangements that shift every five seconds. Sonically, it's all surface style, driven by sound and given shape by hypersexual lyrics.
dutifully steps through the paces, singing enough of the words so they can be tweaked in the computer, never getting in the way of the producers, who deliver a showcase. ~ Stephen Thomas Erlewine
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