Britney … Britney Jean Spears – okay world, you can open your ears now… Femme Fatale has arrived.
The long-awaited seventh studio release from Gen My’s pre-eminent pop figure officially dropped today and it, if nothing else, solidifies Spears’ place in the Pop pantheon. Femme Fatale hearkens to Madonna, the preeminent Pop matriarch’s sonic evolution, but moreover finds depth and its own identity in context of Spears’ own progression. In this electric world life self-context is key, when you can build a socio-sonic identity referencing only yourself and those above you – legitimately – you’re a pretty lethal lady. Let’s delve.
In 2005, Madonna dropped the world like a discoball. She created one of the decade’s best albums as she had created her entire career: by producing a self-context so great that it becomes the world’s Pop conscience. If “the main problem with 2008′s Hard Candy was that Madonna seemingly didn’t care,” and “with American Life she cared too much, to the point where it came across pushy and self-important,” 2005’s Confessions on a Dance Floor was the perfect medium where she cared-enough-to-count. Madonna’s greatest strength is her narcissism. She is Pop, and Confessions is nothing short of a brilliant response to Madonna’s answer to her own morning inquiry: “Mirrors, mirrors on the ball: whose four minutes saves them all?”