mixtape maestro (2.0)

For a Hot 100-topping entry that finally sees Britney embracing a more straight-forward approach to her brand of pop sluttery (rather than continuing to feign innocence while hiding behind schoolyard wordplay, Neptunes-assisted Vanity 6 dress-up and wink-wink award show performances), the ménage-à-trois-celebrating “3″ sure doesn’t amount to much.

Some temporary giggle-worthiness does arise from the whole “Peter Paul and Mary” bit (oh Brit, you so nasty-goofy), but, aside from the “let’s slow it down” bridge portion (the makings of a cool song all on it’s own), “3″ mostly comes across as this cheap sounding, half-finished throwaway cut that the powers-that-be unnecessarily “rescued” from the Blackout/ Circus sessions’ cutting room floor. Oh, how Max Martin should leave the crunk-pop stylings to the other folks.

It doesn’t help much that Spears, who has increasingly sounded less and less…well, human, on recent albums, seems to register here as only another low-budget synth noise, or that the recently premiered video (equally as cheap feeling and filled front-to-back with now-signature Brit “choreography” that mainly consists of Cover Girl commercial model poses, sharp arm movements and bored stripper shimmy/ grinds) only leaves us wondering why we ever thought she was this great dancer in the first place.

We know, we know: much shouldn’t be expected from a Greatest Hits add-on, but still…sigh.

Maybe it is a tad unfair to assume that just because two-thirds of Sweden indie-pop act/ remixing blog faves Miike Snow were reponsible for “Toxic”, their debut album would be full of immediately grabbing pop candy. But then, so what: Christian Karlsson and Pontus Winnberg did helm one of the greatest pop records of the past decade, our expectations should be raised.

Heads up, though: if one is to approach this project looking for sleek dance entries that Britney might have foolishly passed over, you’ll likely walk away somewhat disappointed as Miike Snow never truly offers anything in that vein. On the other hand, if blessed with a more open mind, what is delivered, an eleven-track course of low-mixed vocals (courtesy of third member Andrew Wyatt) and pensive lyrics intertwined within sublime, psyche-dance soundscapes, ends up quite a rewarding listen.

Alongside widely appreciated pre-album release teases “Animal” and “Burial”, one LP cut worth mentioning is “Plastic Jungle”, an eerily buzzing number that marries a libidinous, glam stomp glitch groove with Wyatt’s whispery chorus pleas to “get slain”, in his eyes, the easiest way of escaping a dark world that’s slowly chipping away at his sanity. “Now I see just what you mean/ It hurts too much to breathe/ All alone in this plastic jungle,” he sings, as the devillish toil of the production seems to threaten to swallow him alive.

It’s definitely not Britney material, though we’ve learned that if you squint hard enough, you might detect a hint of “Womanizer” in it’s danger-lurking electro seduction.

DL: “Plastic Jungle” (alt)

Britney tunes always makes for the best cover material. Case in point: this rendition of “Womanizer” as handled by none-other-than Lily Allen (and, sssshhh…don’t tell anyone, but this version is a little better than the original).

Allen’s snarky delivery easily trumps Miss Spears’ dead-panned robo-drone as a fitting element within the anti-Lothario tune while the playful piano jaunt placed inside the bustling acoustic arrangement only adds to her taunting.

If there’s one thing to really be happy about concerning Britney’s return (well, besides, the former Mousketeer being in almost-top-form again and being taken off the tabloid press’ suicide watch and everything), it’s that we’re bound to get more of these lovely little remakes in the future.

Good job, Lil.

DL: “Womanizer (Lily Allen Cover)” (alt)