Her identity is no longer solely contingent on her vocal prowess. It’s the biggest change in Christina’s approach to music. Her usual boisterous vocal acrobatics are reined in and used sparingly to add texture and convey emotion rather than just demonstrate her power. These three songs make up the sound of Christina 3.0. The production is viscous like the inside of a lava lamp gluey and elastically malleable.
Things become slippery on lead single Accelerate, also produced by Kanye West and featuring 2 Chainz and Ty Dolla $ign, who sounds like he’s been on the B&H Golds. Paak produced Like I Do is hazy and almost post-coital, Christina and rapper GoldLink linked in a sexual tête-à-tête.
The dancehall-inflected Right Moves is woozy with sensuality, slick with sweat and sex, while the Anderson. While the front half of the album is Christina realigning herself with her beliefs and reconstructing her lost identity, the latter tracks delve into her playfulness. Bitterness and hurt amalgamate through the growls and gravel of her voice, which has matured and lowered over the years. Finally, after two emotionally dissonant records, she feels aligned with the feelings that her powerful voice is so adept at conveying. “I’ve been working too hard not to be living,” she spits gruffly over hard-rock on what’s the older and wiser sibling of Fighter.
Here Christina shoves away the shackles of The Voice and its debilitating creative restrictions. If Maria is despairing, then Sick of Sittin’ is it’s cousin: fiery anger. “And how am I supposed to face this lonely life I've created?” It’s the aural equivalent of wading through memories, piecing together fragments of yourself from your shattered reflection. “How was I supposed to know that it would cost my soul,” she sings atop strings. The track Maria, with its Jackson 5 sample, harpsichord and Kanye West-produced beats, aches with the loss of that childlike drive to perform. "Finally, after two emotionally dissonant records, she feels aligned with the feelings that her powerful voice is so adept at conveying." By the time I reached six years old, I was pushing my mom to let me get on stage and perform because that's what I loved to do.” “It was just something that I did and I dreamt about. “I would… take it up to my bedroom, to the window, and sing out almost like I was pretending I had an audience,” she told The Guardian in 2008. For Christina, The Sound of Music soundtrack was how she learned to perform as a child. On the intro and title track she appears with a spectral whisper asking “Where are you?” before stepping back in time to revisit her youth. It’s this journey that directs Liberation. For six seasons she sat in the big red chair, pressed a big red button and became a fixture of network television. Then there was her role as a “coach” on the US reality show The Voice.
CHRISTINA AGUILERA CD COVER MOVIE
There was her turn in Burlesque, the cultish movie musical she co-starred in with Cher. In 2010 she released the divisive Bionic, an album with a creative vision that, to this day, stirs incessant debate online. Over the last 10 years, her career has followed the sort of trajectory reserved for artists twice her age. Christina, whose middle name is Maria, seems to have been asking the same question, too. It’s a pertinent opening to the singer’s first new record in six years and something that her fans and pop Twitter have debated for nearly a decade. In a light and heady falsetto, Christina asks that now iconic inquiry: “How do you solve a problem like Maria?” On the second track of Christina Aguilera’s album Liberation, Search For Maria, she performs a short a capella cover of a song from the Sound of Music.
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