This is his written REVIEW of BIONIC:
Ive technically waited six months to draft and publish this particular post, for the first mumblings regarding the release of another studio compilation from my favorite female artist was announced in January of this year.
When I heard LIFT ME UP performed live during the January 21st airing of the Haiti Telethon Concert, I knew that the long awaited body of work to stem from this young woman was going to soundtrack yet another phase in my life.
It has been four, long years since we last heard from her musically, but my HIGH PRIESTESS OF POP, CHRISTINA AGUILERA, has returned with her highly anticipated, fourth full-fledged BIONIC album!
With a strong emphasis placed upon her vocal subtlety over bombastic strides, and a multi layered theme surrounding the makings of a super-human existence, Christina has comprised an elaborately constructed, musical evolution. Bionic manages to push boundaries of rhythmic texture without sacrificing artistic craft, as each track conjures aural memories of the young star we met on her debut, 1999 album, who then presented herself with full conviction on the follow up STRIPPED (2002) and BACK TO BASICS (2006) compilations. It brings me great pleasure as a music lover, critic and Christina Aguilera fan to honestly say that BIONIC is indeed one of the most eclectic patchwork’s of pop progression since the days of classic Madonna.
From the very first cut on the album, the title BIONIC track, Christina offers the futuristic, rigid electronic sound that was repeatedly discussed in statements and press release junkets that preceeded the release of this stellar album. Standing as one of my favorite records to lace the compilation, BIONIC is rich with textured synthetic beats that easily transcend the cybernetic aspects of the song into the non-minimalist hall of fame. The Switch produced and John Hill penned record speaks in homage to the signature, Santigold sound.
ELASTIC LOVE presently stands as my least favorite cut on the entire album. The rather spiraling blend of twisty slide synths create an early 80’s inspired sound that has indeed been popularized by recording artist, M.I.A. Christina’s vocals almost match the less than comprehensive, booming snares that frame the beat, though all fails upon experimentation. I hope the song is never used or performed in celebration of the album’s supreme existence.
The lead offering from this Bionic era comes in the likes of the Polow Da Don produced and Ester Dean penned single, NOT MYSELF TONIGHT. I can finally say that it is my belief this song was chosen as the first single at the final hour, for its the one record on the album that features the climatic voice that sustains Christina’s presense amongst her contemporaries. Though Bionic is layered with different vocal styles from our Christina, its NOT MYSELF TONIGHT where she sings with that menacing range which showcases every high register in Chrissy’s chords. Im still a bit surprised that the single didn’t perform higher on the mainstream charts, BUT its also clear that Christina wasnt aiming for platinum status this go around.
WOO HOO has grown on my listening ear and likeness over the past few weeks, as I have forced myself to enjoy the fractured beats which pamper Christina’s vocals with Nicki Minaj’s clever, lyrical antics. The tongue n’ cheek banter that frames this ’second single hopeful’, indeed pushes Christina’s empowering ode to sexuality and self exploration. It’s an all girl party hosted by Polow Da Don, Ester Dean and in demand songwriter, Claude Kelly.
Many of my readers and viewers have asked which track I love most stemming from this particular album, and I must admit that DESNUDATE stands as my favorite uptempo record. In spanish, Desnudate means GET NAKED, which is certainly the sizzling ingredient that producer TRICKY STEWART stirred into his mixing pot of sound. Everything about the track is sexy, as the punctuated electro horns add a spice of spanish flare to the already flamingo swing of the record.
The LOVE & GLAMOUR intro leads us into what many hail as the frontrunner of this Bionic compilation. Christina proclaims, ‘Dont let the clothes wear you’ on the GLAM single that was repeatedly suggested as the lead single. Many have labeled Glam as the throwback, contemporary version of Madonna’s VOGUE, but I certainly disagree. The thematic elements of the track elude to the same levels of glitz and flare that frames the 1990 classic. However, GLAM is rich in various technologic fragments that easily offer a clever tweak to modern day opulence. A fun pop song it certainly is. A lead in to an album of this magnitude, it was not. I am very pleased that Christina’s team decided against releasing this particular track first. It would have performed worst commercially than NOT MYSELF TONIGHT.
I am also not too impressed with PRIMA DONNA‘S chintzy drum machine beats. The rhythm presents an urban flare that’s sort of jarring for the placement of the song between GLAM and the MORNING DESSERT intro.
…and actually, to be quite honest, my only real issue with BIONIC is the order of the 18 songs that comprise the standard edition. I feel that the album doesnt necessarily flow as easily as Christina’s past three efforts.
PRIMA DONNA is misplaced in the track alignment, as within the structure of the song itself, the beat is very disjointed. The refrain is rather repetitive and lacks innovation. I cant figure out whether or not that’s LIL JOHN’S astringent hollers in the background of the track, BUT I certainly despise the additions to the record.
MORNING DESSERT, in my opinion, should have been fleshed out as a full length record. The infectious ode of the INTRO cut certainly presents one of the more tailored aspects of this Bionic album. It’s lead in to my FAVORITE SONG ON THE ALBUM, SEX FOR BREAKFAST, delivers the perfect liquid flow. SEX FOR BREAKFAST then picks up where Christina’s LOVING ME FOR ME left off, as she recalls the point at which she is loved for the pure essence of her nature. Within the framework of the Detail produced SEX FOR BREAKFAST, Christina’s sexual conviction is raw and authentic. I love the way her voice enhances the R&B blend of sensuality and lust, as she quietly raptures tame and outlandish into one, slow sentiment. Its pure genius.
Linda Perry’s quintessential contribution to the album stands as one of the most invigorating and transcending ballads to mark Christina’s musical career. LIFT ME UP, the only song upon which Christina didn’t contribute her writing skills, inspires me to push beyond my internal and external barriers. Lyrically, the song allows Christina to express a vulnerability of spiritual inquisition. She says, ‘If You lift Me Up, Just Get Me Through This Night; I Know I’ll Rest Tomorrow, I’ll Be Strong Enough To Try’ TEARS literally filled my eyes as I first heard those words six months ago booming from the speakers of my computer. Christina is stripped of all external desire upon this track, which presents the song with a rich texture that sort of saturates the other included ballads.
Australian singer/songwriter, Sia Furler, wrote ALL I NEED, I AM & YOU LOST ME as to present the most vulnerable peaks of Christina’s womanhood, artistry and overall character. Each track resonates with the fibers of my soul. The echoes of intangible depth that comprise each song allows Christina’s vocals to blend into the mastery of each mix. Christina almost sounds as yet another instrument used to create the quiet rhythms on these three records. Her vocals are restrained quite frankly, which gives rise to the enhanced, human aspect of the music within itsself. I AM speaks mounds beyond the proclamation of self acceptance, which is certainly yielded by the commisioned vulnerability ever so present in the MY HEART INTRO where Christina’s son, Max is heard cooing in the background.
I HATE BOYS as well as MY GIRLS stand as the uptempo, feel-good, anthem tracks amongst the Bionic compilation. I initially told friends that I would have liked to see one of these records released as the lead single. It was my thought that female empowering, chant-like records performed well commercially. Keeping in mind the chart topping success of Beyonce’s SINGLE LADIES and Gwen Stefani’s HOLLABACK GIRL, I felt that I HATE BOYS or MY GIRLS had the best potential to solidify Christina with mainstream audiences who weren’t necessarily ‘Christina Fans’. I HATE BOYS is a playful, clap & stomp style uptempo track which features Christina in full exploration of her boastful nature, as MY GIRLS offers a full examination of relentless, female empowerment. Listening to both records repeatedly at this point, Im no longer sure that they could have reigned supreme as lead offerings. However, the summer feeling that evokes from Christina’s lyrical testaments, combined with the brash booms on I HATE BOYS & MY GIRLS, certainly make both the perfect seasonal soundtrack.
Finally, the standard edition of BIONIC ends with another very confident and overtly boastful, Ester Dean produced compilation. VANITY is a great song in that the strong synths that punctuate the beat of the record, parallel well with Christina’s strong shift in self praise. She says, ‘Im not cocky. I just love myself…BITCH.’ Its classic, and all of the gays are living for it right now. *SMILES* The ease in pace that is presented between I HATE BOYS, MY GIRLS & VANITY offers a light shift between the ballads that indulge the depth of character in the latter half of this Bionic album.
Meanwhile, I am rather disappointed that Bionic didnt include more slow records. The fact that Christina’s strength stems from her ability to emphasize and evoke emotion in her ballads, makes me desire that rare, artistic form a little more on Bionic. I wouldnt say that Bionic is pure futuristic, though I can attest to the electronic leans that each track provides. I appreciate the fact that much like with Christina’s STRIPPED album, BIONIC is filled with records that all sound different in range, texture and their central elements. Christina and her team of producers have tapped into a musical spectrum of sound and style.
I will go on record as saying that I expect Christina to push a minimum of 300,000 units of Bionic in her first week of release. The fans are very much anticipating this compilation. Bionic is a body of work that transcends genres and closed captioned categories. Anyone with a connection to their human emotion as well as their super-human exploration will appreciate this fourth, full-fledged studio album to stem from the one and only Vanguard Of Vocal Prowess, CHRISTINA AGUILERA!
Source: XemVanAdams (Amplified)
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