Britney Spears, our tabloid-starlet that epitomizes pop culture at its best, has failed to make a comeback with her latest album-again. She has somehow turned a perfect opportunity for a much-needed rebound in her crumbling career into another object of the media's mockery.
A lot of sympathy goes out to Ms. Spears. She went from being the seductive pinnacle of pop prowess to a divorced mother-of-two who can't seem to keep herself away from rehab or bad press. From the head-shaving to her reckless partying, this woman desperately needs a break.
However, Blackout, her fifth-and hopefully final-album, is mediocre at best. The songs' uninviting beats and Britney's overly synthetic, ear-shattering vocals are not enough to help her rise back to stardom.
A scattered dance compilation of everything from '80s techno to industrial beats, Blackout's title is symbolic of "blacking out negativity and embracing life." Unfortunately, the only thing audiences may black-out is what love they had left for Spears.
Her title single, "Gimme More," is as good as the songs will get. The solid, rhythmic base and Spear's raspy monologue that starts off the song is reminiscent of older hits like "I'm A Slave 4 U." A rarity, "Gimme More" is one of the few tracks that actually deserves airtime at clubs.
But it all goes downhill from there. "Piece of Me" evokes images of S&M, yet fails to arouse anything other than bafflement. Britney "sings" about the paparazzi wanting so much out of her, but half the words are incomprehensible. The three-minute-long song consists of clashing chains and Britney's voice muffled by synthesized static. With no real beat to cling onto, listeners won't want another piece of Britney.
"Radar" sounds like an inferior version of Rihanna's "S.O.S." Her voice sounds like a whiny pubescent teenager who's trying really hard to seduce her middle school crush, but with such ridiculous claims as "I've got the tingle/I want to mingle," the boys are surely running the other way-fast.
The '80s-inspired disaster, "Heaven on Earth," is a terrible combination of synth rock and bubble-gum pop. Britney's annoying voice is all one can remember from the song, but the vocal catastrophe truly reaches a climax in "Freakshow." Listening to Britney trying to rap in a squeaky falsetto is almost as bad as watching Spears at the past VMAs.
To save the CD from becoming a complete waste of time, "Ooh Ooh Baby" is a much-needed departure from the rest of the experimental failures. The solid dance track features Spear's signature sexy-yet-innocent vocals and a simple-yet-hypnotic beat with a hint of Spanish flare.
Even with the help of superstar producers and a supportive fan base, nothing can really help save Britney's drowning career and public image at this point in time. Blackout is an attempt to incorporate too many elements, leaving listeners in a haze. After a four-year hiatus from the music industry, the teen queen of our yesteryear is finally gone for good. So please, Britney, stop giving us more.
-Jessie Tang
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