The Brains Behind Britney

A couple of weeks, Lou Bru drew my attention to British poptart Neon Hitch. Her issue-laden tracks reminded me of some of Jamelia's better stuff but I wasn't completely sold on her.

Yesterday however, Lou Bru sent me a link to a remix of a Miike Snow track, 'Burial', that featured a guest spot by Neon. Although my thoughts on La Hitch were largely unchanged, by drawing my attention to Miike Snow, Lou Bru introduced me to a new obsession.

The group is made up of Andrew Wyatt, Christian Karlsson, and Pontus Winnberg. Wyatt is currently working on material with star-in-the-making Amanda Blank and although Swedish pair Karlsson and Winnberg might not be household names, their alter-egos Bloodshy & Avant might be more familiar. The pair are best known for their work with Britney Spears and have co-written and produced what are, in my view, some of her best tracks (including 'Circus', 'Piece of Me', 'Toxic', 'Radar' 'Phonography' & 'Trouble').

Miike Snow's eclectic alt-pop is nothing like the body of work the band's members have produced for Ms. Spears or Amanda Blank. However, the project certainly highlights the kind of talent and musical ingenuity required to produce a perfect pop track.

The band release their self-titled album in a couple of weeks and, after previewing the tracks on their Myspace, I suspect the record will join When Saints Go Machine's 'Ten Makes A Face' among my favourites of 2009.

Check out Sylvia:


[Image: Pitchfork]

One For The Road

My blog has descended into a celebration of all things camp of late but I can't resist posting this before I try to inject a bit of macho credibility into the old girl.

[via Marina's Myspace]

Just like a Circus...

(published in Campus Magazine, December 2008)

If there’s anything the tabloid media like more than documenting the deterioration of a fallen star, it’s championing the cause of a comeback kid.

In early 2008, the relentless hounding of popstar Britney Spears by paparazzi, at a time when her mental health was decidedly questionable, led Los Angeles governors to consider imposing a ‘Britney Law’ to extend protection of the privacy of public figures.

Just months later, many of those who spearheaded the media crucifixion of the American singer are lauding her for her speedy return to health and hailing her new album, ‘Circus’, as the best work of her career.

Even at the height of her personal woes, Spears’ musical output never faltered noticeably, suggesting that her chart success is probably more to the credit of those puppeteering the Britney brand than the performer herself.

A pick’n’mix of some of pop’s best songwriters and producers are credited for their contributions to ‘Circus’. The tracks range from syrupy ballads like ‘Out from Under’ and ‘My Baby’ to big-beat dance-tracks like recent single ‘Womanizer’ and the provocatively titled ‘If You Seek Amy’ (say it fast).

The main problem with this scattershot approach to production and writing is that it results in an album lacking in any sense of cohesion or ‘wholeness’. Like many pop albums, ‘Circus’ is a victim of its pursuit of the perfect standalone song.

That said, the album is peppered with some moments of greatness. On ‘Mannequin’, Spears’ distorted vocal is threaded between synths and drum-loops to great effect while her breathy Imogen Heap-esque delivery over a minimalist backing on ‘Unusual You’ marks another highlight.

Spears’ attempts to vamp it up on ‘Lace and Leather’ and ‘Mmm Papi’ are less successful but perhaps it’s just difficult to see her as a sex symbol after all those unflattering up-skirt shots.

Despite its weaker moments, 'Circus’ is hit-heavy enough to suggest that, if the reigning Princess of Pop is to be deposed by younger upstarts like Rihanna or Lady Gaga, she’s at least got a firm grip on the crown for the time being.

Verdict: 65%