Femme Fatale

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 Blackout, 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 Blackout, Femme Fatale 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. Britney 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

次章への進化は予想していたものの、まさかここまで大胆な一手を仕掛けてくるとは。恐るべし、ブリトニー&マックス・マーティン&Drルークの鉄壁三銃士。斬新なサウンド・トリックを盛りまくった本作は、全編ハイテンションで激ポップなダンス・チューンの嵐。ユーロ系ダンス・ビートが駆け抜けるなか、甘いヴォイスとシンセとが絡み合いながらほとんど映画「アバター」のような仮想世界を出現させる、ドリーミーなクレイジー・ポップの桃源郷。共犯者のウィル・アイ・アムやロドニー・ジャーキンス、ブラッドシャイらも凝りまくったビートの変化球で応戦する。やたら完成度の高かった前作とは異なる、スリリングで遊び心溢れるポップ・ゲームのカウンター・パンチ。さて、この挑戦をどう受け止めるか?
bounce (C)村上ひさし