MuuMuse elege Glory como melhor do ano

[_p_dan]

Britney Spears tem o melhor álbum do ano para o MuuMuse. Segundo eles, “Glory” é seu álbum mais ambicioso desde o “In the Zone” e “Blackout”. Glory foi eleito o melhor álbum de uma lista com os vinte melhores.

20. Gemini, Wanderlust

19. Niki & The Dove, Everybody’s Heart Is Broken Now

18. All Saints, Red Flag

17. Foxes, All I Need

16. Blood Orange, Freetown Sound

15. Tiffany, I Just Wanna Dance

14. JoJo, Mad Love.

13. Zayn, Mind Of Mine

12. Terror Jr, Bop City

11. Sia, This Is Acting

10. Madeline Juno, Salvation

9. Tinashe, Nightride

8. BANKS, The Altar

7. Tove Lo, Lady Wood

6. Beyonce, Lemonade

5. Carly Rae Jepsen, E•MO•TION: Side B

4. Rihanna, ANTI

3. Ariana Grande, Dangerous Woman

2. Utada Hikaru, Fantôme

1. Britney Spears, Glory

Shocking, I know.

All but obscured beneath the shadows of one of the most grim years in the recent history of the world, there was this — a twinkling, brightest morning star called Glory; a much-needed distraction from the fear, violence and grief that overtook the headlines.

In the New York Times review, Jon Pareles summed up the Britney of 2016 as an impersonal “sexpot” with no message in her music. That’s true: half of Glory lyrically reads like a Grindr exchange. But even when self-empowerment pop was picking up speed five years ago in a world of “Firework,” “We R Who We R,” “Born This Way” and “Who Says?”, Britney was busy dancing “Till The World Ends.” Simply put: she’s just not that artist.

But then, most of her fans don’t want, or need, to be hit over the head with confidence-boosting platitudes or deep social commentary. They want to dance. They want to fuck. And they want, at least briefly, to escape the world.

If anything, Britney’s mere existence post-2007 (and she’s thriving in 2016, truthfully) offers all the “messages of doubts overcome, of pride, of confidence, of empowerment that doesn’t depend on pleasing a guy” that I don’t need explicitly spelled out for me in her music. So sorry, Pareles.

Glory isn’t just Good Straightforward Pop (and make no mistake, quality escapist pop is a dying art), but a milestone in the catalog of the Princess of Pop; a pop star in her mid-thirties who has, in no small miracle, reignited at least some small interest in her nearly 20 year-long career.

A Britney Spears record at its best, much like the Instagram account of the artist at hand, is bizarre: it’s sexual, silly, erratic and lowkey sad girl. Glory covers all those bases, hopping from joyously rowdy odes to NSA fun (“Do You Wanna Come Over?”) to the batshit brilliance of the meme-generating “If I’m Dancing,” to the ever-so-slightly suicidal “Man On The Moon,” to the wildly wailing “What You Need” to the goofy bilingual tryst that is “Change Your Mind (No Seas Cortés).”

Even while trying out some more “not-so-poppy” sounds than usual on this LP — the heaven-sent opening of “Invitation,” the ecstatic coo-oo-oohs of “Make Me,” the chilly “Just Luv Me” and the pitch-black(out) French language outro-slash-Blackout homage, “Coupure Electrique” — Britney still stayed true to the essence of Britney Spears, The Pop Star.

Britney’s contemporaries, like Beyoncé, Lady Gaga and Rihanna, pushed themselves into more serious-faced, at times politically-charged sonic territory in 2016. And that’s great: I genuinely appreciate the intention behind those records. They’ll be blessed with the top spots on most mainstream music publications’ “Best Of” lists and showered in award nominations. But self-care is important, too. And never has it been more crucial to hunker down, log out and appreciate what makes us happy – like a Britney album. She was born to do it, after all.

While the “comeback” narrative is beyond tired for someone who has “returned” again and again and again after that era, even Britney’s most devoted fans can admit that this year was her most astounding return-to-form since Circus, and her most musically ambitious since In The Zone and Blackout. Thanks, Amazing A&R Karen.

From her noticeably revitalized energy onstage (and yes, even spoken word renditions of ’90s hits), to dozens of promo interviews, awards show performances — hell, even festival sets, 2016 gave us the best of Britney Spears we’ve seen or heard in years.

We cautiously hoped it would be good. It’s so much better.

Confira: Smarturl.it/MuuMuseney

[Artur Macedo]

Disco do ano faz assim mesmo

[Blackout]

Top 10 ótimo, mas muito injusto álbuns como esse do Zayn e da Jojo estarem acima do Blood Orange por exemplo 

[Outta this World]

não gostei do album da tove lo, o do the weeknd devia substituir ele na lista 

[Thi]

morto com tiffany em #15

[Lipi Dias]

Até que enfim a biblia de 2016 em alguma lista. Agora que lembrei. O Slant Magazine considerou o Glory como um dos melhores albuns do ano junto com o Anti e e aquele disco de empoderamento negro escrito por brancos.

[PensarB]

48 minutos atrás, _p_dan disse:

 

1. Britney Spears, Glory

Shocking, I know.

All but obscured beneath the shadows of one of the most grim years in the recent history of the world, there was this — a twinkling, brightest morning star called Glory; a much-needed distraction from the fear, violence and grief that overtook the headlines.

In the New York Times review, Jon Pareles summed up the Britney of 2016 as an impersonal “sexpot” with no message in her music. That’s true: half of Glory lyrically reads like a Grindr exchange. But even when self-empowerment pop was picking up speed five years ago in a world of “Firework,” “We R Who We R,” “Born This Way” and “Who Says?”, Britney was busy dancing “Till The World Ends.” Simply put: she’s just not that artist.

But then, most of her fans don’t want, or need, to be hit over the head with confidence-boosting platitudes or deep social commentary. They want to dance. They want to fuck. And they want, at least briefly, to escape the world.

If anything, Britney’s mere existence post-2007 (and she’s thriving in 2016, truthfully) offers all the “messages of doubts overcome, of pride, of confidence, of empowerment that doesn’t depend on pleasing a guy” that I don’t need explicitly spelled out for me in her music. So sorry, Pareles.

Glory isn’t just Good Straightforward Pop (and make no mistake, quality escapist pop is a dying art), but a milestone in the catalog of the Princess of Pop; a pop star in her mid-thirties who has, in no small miracle, reignited at least some small interest in her nearly 20 year-long career.

A Britney Spears record at its best, much like the Instagram account of the artist at hand, is bizarre: it’s sexual, silly, erratic and lowkey sad girl. Glory covers all those bases, hopping from joyously rowdy odes to NSA fun (“Do You Wanna Come Over?”) to the batshit brilliance of the meme-generating “If I’m Dancing,” to the ever-so-slightly suicidal “Man On The Moon,” to the wildly wailing “What You Need” to the goofy bilingual tryst that is “Change Your Mind (No Seas Cortés).”

Even while trying out some more “not-so-poppy” sounds than usual on this LP — the heaven-sent opening of “Invitation,” the ecstatic coo-oo-oohs of “Make Me,” the chilly “Just Luv Me” and the pitch-black(out) French language outro-slash-Blackout homage, “Coupure Electrique” — Britney still stayed true to the essence of Britney Spears, The Pop Star.

Britney’s contemporaries, like Beyoncé, Lady Gaga and Rihanna, pushed themselves into more serious-faced, at times politically-charged sonic territory in 2016. And that’s great: I genuinely appreciate the intention behind those records. They’ll be blessed with the top spots on most mainstream music publications’ “Best Of” lists and showered in award nominations. But self-care is important, too. And never has it been more crucial to hunker down, log out and appreciate what makes us happy – like a Britney album. She was born to do it, after all.

While the “comeback” narrative is beyond tired for someone who has “returned” again and again and again after that era, even Britney’s most devoted fans can admit that this year was her most astounding return-to-form since Circus, and her most musically ambitious since In The Zone and Blackout. Thanks, Amazing A&R Karen.

From her noticeably revitalized energy onstage (and yes, even spoken word renditions of ’90s hits), to dozens of promo interviews, awards show performances — hell, even festival sets, 2016 gave us the best of Britney Spears we’ve seen or heard in years.

We cautiously hoped it would be good. It’s so much better.

Confira: Smarturl.it/MuuMuseney

Eu tava pensando isso outro dia ouviNdo o album:
Nesse Caos só ouvindo um pouco e brintey para não surtar

Rainha Terapeutica dos males humanos 
DEUS que trabalha com a FELICIDADE 

 

[DOMINADO]

APENAX VERDADEX! O resto das outras listas, nadinha

[DOMINADO]

Just now, Lipi Dias said:

Até que enfim a biblia de 2016 em alguma lista. Agora que lembrei. O Slant Magazine considerou o Glory como um dos melhores albuns do ano junto com o Anti e e aquele disco de empoderamento negro escrito por brancos.

MORTAAAAAA! Que shadezuda a Senhora! Amo

[unx]

Tirando Fantôme, que eu não ouvi, o top 5 está perfeito!