Posts Tagged ‘veterans’

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Christina Aguilera – Bionic. (album review)

June 14, 2010

As you can tell from my current blog layout, I am very much feeling the imagery of Christina Aguilera’s current Bionic era.  It’s fierce, severe and pushes the envelope.  Artwork such as the front cover (above) and other graffiti-inspired cyborg manipulations handled by D*Face push the envelope and also serve to symbolise Christina as human machine which creates fine music hence “Bionic”.  Various analyses of this robotic imagery could be and have been made: on the one hand, Christina Aguilera in her superhuman form triumphs over all her competitors and makes superior , near-perfect music because she has this bionic element to her; on the other hand, as part-robot, Christina can only ever produce a facsimile of what music is supposed to be, while never quite getting close enough to the organic, human qualities in music that elevate it beyond the calculable – qualities which cannot be quantified or mechanised.  In Bionic, as in life, the truth lies somewhere between these two opinions.

Bionic the album is a long listen – 18 tracks in its standard version, 23 in its deluxe (with iTunes bonus track “Little Dreamer”, a likeable but throwaway confection, making a grand total of 24).  I’ll dispense with the additional 5 bonus tracks first: they are, by and large, bonus tracks for a reason: either they are not strong enough to be considered for the main album (“Monday Morning” is pleasant but lackadaisical; “Birds Of Prey” is lyrically mysterious and interesting, but musically and vocally it’s too much mainstream dance that Kelis would do a lot better with on her current Flesh Tone project), or they don’t fit thematically with the empowering / sexual / carefree / mature feel of the album.  “Bobblehead” is a thrilling production that stutters and races to its climax with the wonderful lyric: “I never play dumb to get what I want / and always come out the one that’s on top”; however, its main hook is a nonsensical mumble that may be the point of the lyrics, dissing idiot girls who dumb themselves down and preferring to deploy her own intelligence, but it’s still a nonsensical mumble which fails to use Christina’s vocals to much effect.  “Stronger Than Ever” is a ballad that is lyrically strong (and embodies my current struggle with my parents) and vocally able, but it just lacks that something.  “I Am (Stripped)” is a lovely album closer but is a more acoustic version of one of the main album tracks, and so it’s understandable why it’s relegated to bonus status.

So, to the main event. To my ear, Bionic moves in three arcs.  In its first, it goes for the jugular with relentless, futuristic uptempos; it then cools down into a sensuous, emotionally vulnerable, mature ballad section; finally, it picks up again for a closing triad of uptempo songs that epitomise fun.  While it’s possible that the album could be trimmed down to make a more concise, compelling listen, it flows very nicely throughout and only has a couple of stumbling points.  Christina Aguilera said that she wanted something which sounded futuristic, but with elements of the organic; something which integrated her new emotional maturity as a mother with her desire to remain playful and sexy.  On this point, she has succeeded: Bionic has elements of all of this.  Tracks such as “Bionic” and “Elastic Love” incorporate computerised effects to distort Christina’s voice, along with buzzing, whirring productions that sonically embody the bionic cyborg face of her album cover. However, on tracks such as standout “You Lost Me” and “All I Need”, Christina is stripped of the musical gloss of the faster tracks to be backed by little more than a piano.  “All I Need” is also a touching, mature tribute to her son, which nicely avoids being mawkish or saccharine like Britney Spears’ unlistenable “My Baby” from Circus.  Finally, sex is all over this album, and from the enticing “Woohoo” to the seductive “Sex For Breakfast” (which I have yet to play for my boyfriend, but when I next see him in July, I am using this song on him!), it’s explicit without being pornographic, edgy without crossing that line.  In this respect, the Christina Aguilera of “Dirrty” is still present, knowing how to be provocative while still being musically relevant.

However, in the video for “Not Myself Tonight”, Xtina makes her return and perhaps pushes the envelope a little too far.  S&M get-ups, Madonna tributes aplenty, and bisexual flirtations are almost par for the course at this point, and Christina Aguilera is more than entitled to use them considering her influence on current female artists in the mainstream over the past 10 years.*  However, although “Not Myself Tonight” is an understandable choice as Bionic‘s lead single considering its radio-friendly sound, it’s not futuristic and it’s not exciting enough to merit the edgy, sex-fuelled imagery.  Rather than hookless, it sounds like a bunch of hooks jostling together for attention over a dance beat (which has a couple of exciting tribal flourishes), the result of which means that sometimes the song sticks, on other listens it doesn’t quite get there.  A better first single might have been the thrilling, soaring title track, or uptempo album standout and follow-up single “Woohoo”, on which Xtina extols the virtues of good oral sex, recruits Nicki Minaj for a fine rap segment, uses her vagina (the titular “Woohoo!”) for a cowbell, and tops it off with a throbbing, buzzing dance break coda for good measure.  Along with “You Lost Me”, “Lift Me Up” and album closer “Vanity”, “Woohoo” is an album standout where all of Christina’s chemical ambitions for Bionic come together perfectly to produce some exemplary pop.

Bionic itself has no bad songs, but there is some filler: “Prima Donna” comes at the end of the first album arc of jugular-ripping uptempos, and is the weakest of them, with little lyrical know-how or production excitement to give it its own identity after the tracks preceding it.  “My Girls” is a ‘riding in the car with your top down’ sort of song, but comes off as fluffy compared to the album’s meatier offerings: although Christina proves (responding to criticisms that she oversings) that she can vocally restrain herself on songs such as “Elastic Love” with its amusing and witty stationery metaphors, and the tender “All I Need”, “My Girls” needs the vocal melisma to give it some spark; as it stands, it’s a little too laid back.  Nevertheless, 2 out of 18 songs (or 15, excluding interludes) is not bad and perhaps a better result than I was expecting.  Sure, several songs on the album are not immediate: “Glam” takes a few listens to hit its stride with its subtle, fibrillating beats and “Vogue”-esque spoken-word verses, while “Vanity” initially startles the listener with its unbridled use of the word “bitch”, references to Christina making herself “wetter” before marrying herself as her “lawfully wedded bitch” and effectively giving the finger to everyone who doesn’t have such bravado.  Only by the song’s end (and possibly a couple of repeat listens) does it sink in that the track is a storming highlight, a perfect album closer, utterly hilarious and ridiculous (and knowingly so), with a vocal flourish that knocks all competition to the floor before her son’s voice confirms all suspicions: his mother really is the shit.

At the end of the day, it’s this kind of confidence that makes Bionic a great success – Christina Aguilera believes that she rules the world, and this kind of ambition almost single-handedly propels her music to heady heights.  It’s a new page for Christina, and she’s secure enough in her ability to try different things: the mélange of styles is a little disorientating until repeated listens expose the subtleties and intricacies in her vocals, lyrics and the songs themselves.  “Lift Me Up” is another beautiful, soaring track that was slightly superior in its stripped down live version performed on the Haiti telethon, but still thrills within the album.  “I Am” is a declaration of humanity, imperfection and adulthood that lends substance to the polished sheen of Bionic‘s robotic side, deployed confidently, efficiently and effectively for example on clubsong “Desnúdate” (which neatly remembers and includes Christina’s Spanish-speaking audience and heritage).  If Christina experiments with textures in her voice, sometimes preferring subdued rumbles to soaring melismas, she still shows that she can do both better than most other female artists.  At the end of the day, Christina Aguilera is an musical artist with a personal and professional vision that she fulfils 85% of the time.  Her misfires are excusable and never in poor taste so much as merely a little bland or inconsistent – in time, Christina will learn to totally excise these from her projects.  Most importantly, while some of Bionic indeed caters to current mainstream tastes and is hardly an obscure sonic revelation, the majority of it is interesting and thrilling, and rings true as Christina Aguilera’s own personality and intention which doesn’t give a fuck about current radio trends (in my opinion, less than half of Bionic would get spins on mainstream radio).  For this, her sales might suffer, but her artistic integrity remains intact and hopefully the mainstream radio audiences and buying public one day will catch up.

* I’ll address this once and only once: anyone who thinks that Christina Aguilera is copying Lady GaGa is a) suffering from memory loss and should go back to Christina Aguilera’s last two album eras which were mired with controversy and blazed with exciting fashions and imagery, b) suffering from hearing loss as Christina can sing GaGa – and pretty much anyone else – under the table, c) has no respect for what Aguilera has achieved over the past 10 years – while GaGa has had a fantastic 2-year run and displays much potential (her music and videos are definitely getting more intriguing), she’s still only been around 2 years and more respect should be shown to anyone who successfully completes a decade in the music industry, and d) completely overlooking Gwen Stefani, whose hairstyle Christina mimics in her “Not Myself Tonight” video, and whose image, sound and career Lady GaGa has borrowed liberally from, mixed with a bunch of fashion designers, and passed off as her own to those too young, too unaware or too amnesiac to know any better.

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veterans.

July 21, 2009

I opened up Crunk + Disorderly yesterday morning and was confronted by this post about Cyndi Lauper & Lil’ Kim’s recent performance at the Nelson Mandela concert.  Kim looked fantastic (better and better, certainly an improvement on recent years, with her weight back down and her face not looking so exaggeratedly plastic), and I was intrigued to watch the performance.

I was blown away.

Okay, Cyndi Lauper sounded like a goat at the start, and I’m not used to hearing the classic “Time After Time” over a hip-hop-lite beat.  But then Kim opened her mouth and sang, and my jaw dropped to the floor. Kim is a fantastic rapper, and the undisputed best female we have (especially since Foxy, Eve and Lauryn have all but vacated their seats) in the current game.  I remember ordering her Notorious KIM album from amazon, and bringing it to school on the day it arrived and causing a storm because I was listening to explicit material (I was 14! but it was a private school, so who knows 😉 ).  I did feel a thrill in playing it to my friends and listening to a woman spit explicitly sexual rhymes over exciting space-pop-hop beats, and ultimately I’ve become a fan of hers who possesses all her albums.  Her records are never anything less than lyrically complex and sonically thrilling.  But between albums, Kim doesn’t seem to be so consistent with her promotion nor her other ventures, so this video of her singing “Time After Time” was a beautiful surprise.  As was the fact that, although she sounded a little shaky (although she’s gotten flack for ‘singing’ on her rap records, she generally keeps in tune and the songs are always fun and playful), her voice was beautiful and hit the notes more or less consistently through the performance.

When it segued into “Lighters Up”, and Kim and Cyndi both traded rhymes, I was impressed at both of them for fusing their styles into something heartfelt and potentially classic: it was an unforgettable moment.  I hope you enjoy the video, because after her run on Dancing With The Stars was unfairly cut short, Kim seems much more dedicated to proving just competent and talented an entertainer is, and showing us more facets of who she is other than through rapping.  It was something a little different, but taking risks does pay off, and Lil’ Kim proved she is a veteran of the rap game who can do things other rappers just don’t do (Lauryn did, but not anymore… I guess Missy and Queen Latifah are also exceptions, but then they’re also veterans too, in their own ways).  I hope you enjoy the performance as much as I did.

This goes to show that the truly talented can never be counted out: Madonna, Mariah Carey, Jay-Z, among many others always have a fanbase to come home to, as long as they keep displaying their talented and the reason why they are legends.  Whitney Houston’s new album I Look To You will drop in August, and I have a feeling it might be her turn now… although the leaked tracks from the record don’t sound amazing, the set looks like it will sound classy and restrained and come from an emotionally mature place following her troubles of the past few years.  At the end of the day, if you still have it, then you have nothing to be afraid of because nobody can take your talent away; you have to surrender it.  And in the long run, it’s the veterans who never give up.