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didi14

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לפניכם ראיון חדש בו בריטני מדברת רק על המוזיקה ועל שיתוף הפעולה עם מדונה+ ביקורת על 7 שירים מהאלבום החדש. - How has your sound changed? I wanted something very exciting and hypnotic and so I chose collaborators like Moby, Red Zone and R.Kelly to make real what I wanted. The work has been easy: I told them my ideas and they developed their intuitions. Then we needed to choose. - Why Madonna? It's been a natural thing. I've always liked her, we performed together too recently, at the VMAs. She listened to my single, Me against the music, and she liked it. Some years ago we wanted to make a duet, but we couldn't do that because of our hard work. Working with her has been a great experience. We met in the studio: she recorded her 'take' and I did mine. And then we compared eachother. She brought some nice melodic intuitions, an exciting interpretation. She works in a very artisitc way, she really impressed me! - Your new songs are very hot, very sexy. There isn't the romanticism that was on the last albums. Are you afraid of what can the american adult people say? I think sex also is a feeling for me, and I've never made albums to please the adults or the parents: I'm an artist and I follow my way, I only want to express myself, as I like it. - What are your new inspiration sources? Usual ones: life experiences, the ones that you accumulate in your life. - In some songs you feel the influence of an indian sound, a'la Panjabi... It comes from the fact that I like dancing, I like sophisticated rhythms, and I find that kind of sonority very sensual, particularly sexy. - R.Kelly, Moby, Red Zone... can you tell something about your producers? Moby, R.Kelly, they all have a different touch, a different vibe. I'll change for sure something in Outrageous, the song produced by R.Kelly. I like the music, but I'll change something in the lyrics, I don't feel them mine. (the song says 'I wanna be outrageous... when I move my body... my sexy job... simply being a girl...) - Will Daft Punk be in your album? No. I did some musical experiments with them, just that. - Is it true that you'll be in the remake of 'Dukes of Hazzard'? No, absolutely no. - Fred Durst said that there isn't a new Britney, but you've always been fond of good life, parties, alcool, etc... I'm a person who loves having fun, and honestly, i also like being out of control. I've never did it a lot because i've always been very busy in my tours and in my activity. When you have to perform you have responsibilities for the audience. There's the right moment to let go, but it really has to be the right one. - What do you think about your president Bush? As an American I think you should offer all the support he needs in these moments
 

didi14

New member
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Me against the music (featuring Madonna, produced by Red Zone) Madonna's filtered voice introduces the new single, built on a very complex textured groove and circular. Layers of beat and breakbeat are placed one upon another, while the Queen invites Britney to the 'competition': "are you ready? I'm losing control, come over here I got something to show you...". Before the chorus, an invitation to dance dedicated to the people "who wants more", Britney sings a pair of lines in a single flow, a typical virtuosity of the electropop in the Eighties. Keyboards appear in the bridge, that breaks for a moment the run towards the "zone", that point, where you need "a minute" to "take on". Breathe on me (produced by Mark Taylor) This time the beat is sharp, dark, regular. And Britney tries to play Donna Summer on this beat, whispering abandonedly phrases like "heeeey, I need your touch". I feel love, 25 years after. Showdown (produced by Bloodshy and Avant) This time Jamaica inspires the synthetic rhythm, especially reaggae. The lyric substance is like the described before songs', the style is the usual whisper blown in the ears. Touch of my hand (produced by Jimmy Harris and Shep Solomon) A celtic violin introduces the song and inserts constantly in it in a regular beat. The melody is more present, but however it isn't airy, and guides a development towards a final crescendo where Britney's voice, at the limit of the orgasmic, ends in the harmonizing in a chorus and some electronic comes (Mirwais docet). Chaotic (produced by Bloodshy and Avant) A triple ascending beat scans all the songs, a constant reference on which a lot of rhythmic impulses stratify and a sample of a sharp electic guitar stands out. Britney sings in a dense spoken word and whispered as usual, throwing sometimes a freeing scream. The chorus, sung in a higher tonality, makes the song more enthusiatic and solar, with a counterpoint of a bridge with a 'sick' beat, almost like the one which comes from a knocked down woofer. Outrageous (produced by R.Kelly) The 'black' mark impresses in the album thanks to the controverse - and incriminated - black crooner. It's the word outrageous, continuously repeated, which defines with its accents the song's ryhthm. Accents where Britney wedges to let us know that " I want to be outrageous... when I move my body... Like a girl". To check, Britney too wants to correct it. Toxic (produced by Bloodshy and Avant) And here Britney's team played dirty. It's impossible not to recognize in the beginning the copy of "shock the monkey" by Peter Gabriel, camouflaged among lots of beats, samples of balcanic tunes, a digital sitar and even a 'western' guitar a'la Chris Isaak. Quotation or trick? We had no time to ask that to Britney, but the appointment is only postponed.
 

TetiBETTY

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