The music has never stopped being incredible.
From the rallying chants of the Ke$ha-penned “Till The World Ends” to the final heartfelt cries of “Criminal,” Spears’ seventh studio album, Femme Fatale, is a ceaselessly catchy record filled with explosive, surging uptempo cuts (“I Wanna Go”), quirky mid-tempos (“How I Roll”) and racy odes to ex-sexin’ (“Inside Out”) that remain fresh and innovative to this day.
By employing both longtime collaborators (Max Martin, Dr. Luke, Bloodshy & Avant), as well as some relative newcomers to the Spears circle (Fraser T. Smith, Will.I.Am), the reigning pop princess dove deep into modern club beats, weird Swede-pop textures, and gritty dubstep influences to craft a cutting-edge collection of future-pop tunes–all while maintaining that unmistakably “Britney” sound.
The dubstep breakdown of “Hold It Against Me” alone–the album’s lead single which immediately rocketed to #1 upon release in January (and remains as fresh to the ears as the day it debuted)–has since led to an entire wave of dubstep-infused Top 40 pop, now heard on songs like Flo Rida‘s “Good Feeling” and Rihanna‘s “You Da One.”
Femme Fatale celebrates the very essence of pop music, affirming for the seventh time why Britney Spears is the ultimate pop star of our generation. But she’s Britney (bitch), and none of this should come as much of a surprise. After all, there’s a certain catchphrase I coined from back in the very beginning of the year that will forever ring true…
2011: YEAR OF THE SPEARS.
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