Words by:
Dan Bull

Almost fifteen years after the release of her breakthrough debut …Baby One More Time, and following six more studio records, all of which provided chart-bothering hits of some degree, Britney Jean delivers what pop princess Britney Spears describes as her ‘most personal record to date’. A quick glance at the credits shows that there is certainly something different about this collection, with Spears credited as a songwriter on every track (on previous releases she’d appear once or twice). Whilst it makes her a more prominent part of the personnel, it’s difficult to pick out one personality from the 29 songwriters and 24 producers on board. Even 2001’s Britney (featuring singles Overprotected and I’m Not A Girl…, neither of which were credited to Spears) felt more like Britney’s story.

Although 2011’s Femme Fetale made a strong surge towards a more dance-orientated sound, the melodies of long time songwriter Max Martin (…Baby One More Time, Oops!… I Did It Again) and pop-friendly influence of Circus producer Dr. Luke were evident. Without them, and despite the fact that will.i.am, David Guetta and Swedish House Maffia’s Sebastian Ingrosso are among the many collaborators, it feels less like an album and more like a collection of demos for Britney album #8. Even Blackout, recorded and released at the height of her public breakdown, had more of a sense of direction.

It’s not to say there aren’t moments that give a hint of the influence Britney can have. Work B***ch’s designed-for-the-dancefloor drop sees will.i.am and Ingrosso building beats like blocks before breaking them down, and somehow still finding space for Spears’ chants in-between. Second single Perfume (penned by Sia) is the closest thing we’ve had to a classic Britney ballad for some time; think Born To Make You Happy’s long-overdue sequel.

Of the many (many) producers, will.i.am’s name appears more than most, clearly fuelled from the unprecedented success of Scream And Shout. When he collides with Guetta the beat is unquestionably infectious, but it’s often the case regardless of who they work with. Unfortunately, while each provides a dance-friendly backing track, they’re as deep lyrically as a paddling pool. Her legacy is strong, but ‘nothing’ tracks like these (It Should Be Easy, Body Ache) mean that she will soon be overshadowed by the more media-savvy, creative forces of Gaga, Miley and Perry; leaving Spears to continue with the Las Vegas residency she’s just signed up for. (Even a Katy Perry co-write on Passenger can’t help.)

A moment which could have begun a new chapter – a country influenced duet with Spears’ sister Jamie-Lynee, complimented with understated electronics – is trampled over by a will.i.am chorus that is beyond unnecessary. Frustratingly, the album’s best track is the opener, leading the listener into a false sense of security. Had William Orbit been the sole producer of the album, this could have been to Britney what Ray Of Light was to Madonna, with Alien the first of many hypnotic yet simple, subtley-trance influenced tracks. Instead it’s peaking-too-soon personified.

Britney Jean is due out on Monday (2nd December); hit the iTunes link below to preorder now:

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