Artiste: Christina Aguilera
John K. Abimanyi
Christina Aguilera is on a train, riding on a first-class-ticket, along the imperilled highway to superstardom oblivion. It’s that pitch-black-dark-hole into which hitherto celebrated stars are swallowed after becoming a shadow of the acts they used to be. The days of such melodic Pop verses like “Beautiful”, “Genie in a Bottle” and others now sound like some nostalgic collection from her museum.
But the year 2000 is nearly a decade back, and ever since then, Lady Gaga, Katy Perry and their brand of club-banging techno dance have launched a successful invasion on the good old Pop music fort. Now every body wants to do either their R&B or Pop with a little David Guetta or Darude. And Christina Aguilera has fallen for this too, stretching herself to meet the demands in this new segment of the market, like the true trend chaser.
Of the 18 tracks, the first 11 or so songs are woven from threads of raunchy, rarely appealing electro pop that simply clouds your eardrum with much ado about nothing. Take for instance Elastic Love, with its noise, and clatter and hisses that are devoid of any melody whatsoever, and then, Not Myself Tonight where she sings that. “…The old me is gone. I feel brand new. And if you don’t like it, f**k you.” Well, Ms Aguillera, we really don’t like the new you.
There however is a short-lived cause for hope on Sex for Breakfast, Lift Me Up, All I Need and I Am whose ingredients are the Aguillera of old - soothing piano strokes layered with her vocals to create a real ballad. However, the racket returns on the final two songs to seal off a fine work of musical self-destruction.