Reinvention can be a tricky thing.

The Bionic campaign began with the promise of a pop superstar’s futuristic return to the scene after an extended love affair with ’20s and ’30′s-inspired vintage sound. On the way back (to the future, if you will), Christina Aguilera would confront setback after setback in trying to properly relaunch herself.

In looking back at the campaign’s early stages, there’s little doubt that the Iamamiwhoami viral videos–now all but confirmed to be a project created by Swedish singer Jonna Lee–largely contributed to the initial deconstruction of the Bionic campaign’s magic.

For those unfamiliar, the mysterious web series first cropped up on the web in late 2009 as a series of two or three minute clips uploaded on YouTube. The videos featured an unidentifiable blonde frolicking around in the forest licking trees, rolling in mud–and generally just being weird–as lovely, lush electronica music played in the background.

While warped video and sound effects veiled the singer’s voice and face, early screen-shots from the clips all stubbornly pointed to the same source: Christina Aguilera.

At some point, most people began to believe–or at the very least, wanted to believe–that the “proof” photographs that circled the blogosphere did indeed come from Aguilera’s camp.

After all, the album was newly titled Bionic (which sounded forward-thinking), she was flying below the radar (filming Burlesque with Cher, as it turned out), and her album’s growing collaborator list was comprised of avant garde, left-of-center artists and producers like Ladytron, Hill & Switch, and Le Tigre.

So when the preview of the radio-friendly lead single “Not Myself Tonight” finally premiered on Aguilera’s website back in March, the hope that one of pop’s princesses was going deep underground quickly and definitively deflated.

“Not Myself Tonight,” too, was another major strike against Bionic. Production wise, the song sounded as though it were recorded in 2002; a by-the-numbers club banger that was neither bad nor particularly innovative. For a comeback track after an extended absence from the pop scene, however, the decision to release the song as the first single was devastating. The song’s final chart positions only further solidified proof of the folly, peaking at a modest #23 on the Billboard Hot 100.

The final blow against Aguilera came in the form of a new-found rival pitted against her in the media: Lady Gaga. Almost immediately after revealing the cover art and album title for Bionic (and truly, ever since her masked VMA performance in 2008), Aguilera continued to battle sharp, inaccurate criticism for allegedly lifting Gaga’s future-pop styling, eventually leading her to write a formal response to the drama on her website.

Yet anyone that truly understands pop should know that there’s no real style swiping between Gaga and Christina. They’re two blondes operating within the confines of the mainstream pop industry and both happen to hone excellent voices. Beyond that, there’s are few comparisons to make.

Their sounds are entirely separate, and as far as their artistry is concerned, Christina had been exploring issues of sexuality and dabbling in exotic fashions long before the name Lady Gaga ever hit the ears of most critics now lashing out against the singer. In fact, Gaga is probably one of the only artists that Christina doesn’t sound like on Bionic.

To be fair, the video for “Not Myself Tonight” did no favors in building a case for Christina as an artist in her own right. Scenes featured within the video depicted Aguilera in various states of undress and bondage, as well as shot-by-shot homages to Madonna‘s early ’90′s work including “Express Yourself,” “Human Nature,” and “Erotica.” While clearly out of reverence rather than unoriginality, the decision to release a video based on the work of another artist was ill-timed at best.

And so, at long last, comes Bionic–a record four years in the making, produced by the artists and producers that Aguilera admires, written to express her thoughts on womanhood, sexuality, and lifestyle.

Kicking off the new record comes its dubstep-laden title track “Bionic” which, while an excellent number, sounds as though it were lifted straight from the recording sessions of Santigold’s debut album back in 2008. It’s hardly surprising, given that the producers of the song are the very same who first worked with Santigold, but the general expectation behind an artist-producer collaboration is a creative middle ground that sounds entirely new (in theory, anyway).

“Many times imitated, not duplicated / Can’t be replaced,” Aguilera sings on top of the stuttering, grinding beats, she sings during the song’s second verse. Yet herein lies the problem with Bionic: It does sound duplicated.

One of the singer’s greatest weaknesses here is a propensity toward sounding like a mimic. From lifting Sia‘s warbling delivery style on “I Am,” to the dead-on imitation of M.I.A.‘s monotone delivery on “Elastic Love,” the singer seems to be so lost in the shuffle of talent that I can’t help but wonder if “Not Myself Tonight” would have made for a far more fitting title for the record.

Imitation aside however, there’s no denying that a great deal of Bionic is actually quite good.

Despite her reinvention into robot territory, Christina’s still found plenty of time to entertain her lady region (as with Back to Basics‘ “Still Dirrty”), including the booty-popping “Woohoo,” featuring Nicki Minaj, which finds the singer doling out instructions on how to navigate below the belt. “You don’t even need a plate, just your face, ha,” she offers during the instructional chorus.

There’s also the Latin-tinged “Desnudate,” a romping, stomping burst of breathy desires being purred into the listener’s ears. Further on, the tempo drops for a coo-heavy, Janet-esque offering with “Sex for Breakfast.”

Then there’s just plain self-indulgence, as with the album’s final moment, “Vanity,” a wonderfully cocky electro-pop ride through tongue-in-cheek lyricism. “Mirror mirror, on the wall / Who’s the flyest bitch of them all? / Never mind, I am,” Christina taunts off the top of the track before calling on her queens and launching into a flurry of bratty boasts.

Given all the controversy surrounding Christina’s pop star status in 2010 however, the irony sort of just writes itself in the final seconds of the song: “And the legacy lives on, going strong / Let us not forget who owns the throne,” Aguilera pompously declares. “You do, mommy,” baby Max responds. Crickets.

And while the gorgeous Linda Perry-penned ballad “Lift Me Up” is the next best candidate to follow Aguilera’s already established classics, “Beautiful” and “Hurt,” there’s little debate as to the album’s true shining moment(s), which comes in the shape of three Sia ballads: “I Am,” “You Lost Me,” and “All I Need.”

These songs aren’t just torch tracks–they’re the kind of next level balladry we’ve come to expect to come from the Australian singer-songwriter responsible for “Breathe Me.” Here is where Christina truly shines, delivering a wealth of vulnerability and control when needed and a signature yelp when it’s time to truly unleash.

At the same time, the album also suffers from a fair share of filler, including the noisy, childish chant of “I Hate Boys” and the needless noodling found on the rather unspectacular “Prima Donna.” “Glam” is another dud that, while initially promising, ultimately fails to inspire enough energy in the chorus to prove itself as fierce as the lyrics imply.

As one may gather from the song descriptions, the main issue with Bionic is that it lacks any solid musical identity, as well as any real sense of cohesion.

Perhaps if the album had been separated into a more logical two-disc process–a side for serious contemplation and sophisticated pop such as “Birds of Prey,” “Monday Morning,” (both of which having been unfairly ousted onto the second disc) “Bionic” and all of the killer ballads–as well as a side for the best of the sex-drenched club jams (“Vanity,” “Woohoo,” “Desnudate”), the package itself would be more appealing.

As it stands, Bionic is a convoluted set of semi-working parts that could use some serious rewiring. But while the machinery included within isn’t necessarily pieced together properly or as cutting edge as promised, there’s still good enough reason to invest in Aguilera’s latest reboot.

On the third day of Christina-mas, her PR brought to me: one album cover, and a long winded press release.

The third countdown on her official site has ended, resulting in the cover to Christina Aguilera’s fourth studio album Bionic, as well as a release date: June 8.

From the press release:

Bionic features songs co-written by Aguilera along with her much buzzed about collaborations including Sia, Tricky Stewart, Polow Da Don, Le Tigre, Hill & Switch, and Ladytron among others. Aguilera notes, “Working on this album with so many talented artists and producers that I admire was really an amazing experience. The artists I chose to work with added so many unique sonic layers to Bionic. My intention was to step into their world and what they do combined with my own vision and sound. The results were magic.”

Blah, blah, blah…nothing we didn’t already know, and no new song titles.

There will also be a preview of her new single, “Not Myself Tonight,” posted on Friday, March 26.

One just wasn’t enough.

A little while after posting my initial “Most Anticipated” list for 2010 (read: approximately three seconds), I realized that I had left out far too many important upcoming releases that merit an equal amount of attention.

Let’s keep it going with another installment then!

Christina Aguilera, Bionic (Fourth studio album)

What it is: From WWII to the post-apocalypse, Christina’s upcoming reinvention in sight and sound is poised to raise the bar in pop next year.
Expected shelf date: March 2010.
Confirmed tracks: “You Lost Me,” “Monday Morning”
Production by: Goldfrapp, Ladytron, Sia, Le Tigre, M.I.A, Sam Endicott, Diplo & Switch, Linda Perry, Tricky Stewart
What we know: Loads. Every one of the producers and writers for the new album has been absolutely raving about their work with Christina. Tricky Stewart told Vibe that “She did things that she’s never necessarily heard on the radio.” Ladytron cannot seem to sing higher praises of Christina’s taste in music and talent in the studio. Sia’s called the songs they’ve wrote together “classical music beautiful” and “sad and awesome.” As far as what I personally know from my sources (such a cock tease!), it’s all sounding quite good.
MuuMuse hopes to hear: A shocking, next-level FutureSound set to knock Gaga down a peg or two.

Goldfrapp, Head First (Fifth studio album)

What it is: The new dawn of another era in Goldfrapp.
Expected shelf date: March 23, 2010.
Confirmed tracks: “Rocket”
Production by: Goldfrapp
What we know: From their official site, courtesy of Alison: “this album is very different from the last, but i hope you enjoy it just as much for different reasons. i’m really looking forward to playing the new songs live as a lot of them are so up and jubilant. even the revenge songs are kind of joyous! its gonna be a blast!”
MuuMuse hopes to hear: Whatever they’ve got to offer. Who dislikes any of the Goldfrapp albums, honestly?

Sia, We Are Born (Fifth studio album)

What it is: The spunky follow-up to 2008′s Some People Have Real Problems, helmed by the producer behind Lily Allen‘s fabulous It’s Not Me, It’s You.
Expected shelf date: April 2010.
Confirmed tracks: “You’ve Changed,” “Clap Your Hands”
Production by: Greg Kurstin
What we know: The album is basically complete, and a new single will be released in the first quarter of 2010. It’s also full of happy, upbeat sounds a la “You’ve Changed,” which you can download at MuuMuse and “Clap Your Hands,” which has been performed live during her Australian tour.
MuuMuse hopes to hear: A brighter, poppier Sia with more hooks and melodies than ever before.

Nicki Minaj, TBA (Debut album)

What it is: After creating a handful of mixtapes and lending verses on literally everyone’s songs, Minaj will finally roll out her debut as one of the most promising female rappers since Lil’ Kim.
Expected shelf date: 1Q 2010.
Confirmed tracks: None.
Production by: Unknown.
What we know: It will be bossy, braggy, and full of Harajuku Barbie style. As the only female rapper on Young Money Entertainment, it will undoubtedly feature everyone from Drake to Lil’ Wayne.
MuuMuse hopes to hear: “Itty Bitty Piggy,” as well as more references to signing boobs and ‘poppin’ that pussy on his Suzuki so crazy kooky in them Daisy Dukies.

Janet Jackson, TBA (Eleventh studio album)

What it is: Returning to her original label A&M Records, Janet’s follow-up to 2008′s Discipline is a top priority release to send Jackson back to the top of the charts.
Expected shelf date: 2Q 2010.
Confirmed tracks: None yet, aside from the possible inclusion of “Make Me.”
Production by: According to the NY Daily News, Rodney “Darkchild” Jerkins.
What we know: During her interview with Robin Roberts for ABC, Janet spoke a bit about her new material: “So far I’ve kept it light, but I’m sure it’s going to have its moments of getting a little heavy, a little deeper, lyrically speaking. I need a little bit of escapism right now…something that’s fun to listen to.”
MuuMuse hopes to hear: The classic Janet formula–two or three solid club bangers and a bunch of slinkier grooves a la “When We Oooo” and “That’s The Way Love Goes.” I’m also expecting some darker work and hopeful balladry, given the hardships she’s had to face over the past few months.

Arguably one of the world’s greatest trance DJs, Dutch producer Tiesto has continued to redefine the boundaries of trance music with his signature emotive style and arena-ready sound for over fifteen years.

For his fourth major studio release Kaleidoscope, the premiere producer of trance sought some of the music scene’s most dynamic characters, ranging from global superstars (Calvin Harris, Sneaky Sound System, Nelly Furtado) to an assortment of lesser known, left-of-center acts (Tegan & Sara, Bloc Party‘s Kele Okereke, Sigur Ros‘ Jonsi) The result? A powerhouse collection of single-worthy uptempos bursting with indie cred and trance appeal, appealing to both the body and soul.

One standout involves Canadian singer-songwriter Nelly Furtado, who had her first taste of dance with her 2006 album, Loose. Replace the generic Timbaland-produced beats of that album with a flurry of glittering, electro-encrusted pulsations, and you’ve got “Who Wants To Be Alone,” a devastatingly addictive dancefloor haunt guaranteed to delight on repeat time and time again.

Other winners include Emily Haines‘ turn on the storming “Knock You Out,” which plays like Ladytron on E, the warm synth pulsations of the Cary Brothers-assisted “Here On Earth,” and “You Are My Diamond,” a throwback to the days of pure, ‘90’s pulsating bliss. The track is made all the better thanks to a shamelessly celebratory, sugary sweet delivery from Kianna Alarid, known best as the lead singer of Tilly and the Wall.

“Feel It in My Bones,” featuring indie darlings Tegan & Sara is perhaps the album’s greatest track, and undoubtedly the epitome of the album’s intentions. As Tiesto’s cool, calculated trance vibrations shudder underneath, Tegan & Sara’s smart-pop sensibility lift the track and create something new; the result becoming a celebration of the art of collaboration.

Simply speaking, there’s not a bad track in the bunch–at least in terms of the vocal offerings. The album’s only drawback can be found in its five instrumental tracks, included as a kind of overcompensating injection of Tiesto trance, lest we somehow forget who’s in charge behind the scenes of all of these guest spots. Sadly, they do little for the album here, aside from providing long, unnecessary breaks between the meat of the album. Skip them, and you’ve got one hell of a solid set.

Kaleidoscope is unlike anything Tiesto has done before (and surely nothing its guests have recorded). In spite of what could have been a risky undertaking (whether or not devoted fans of each genre will come to embrace this album remains to be seen), Tiesto’s fifth studio album is nothing short of excellence–allowing indie music the pulse it never knew it needed and dance music the lyrical sophistication it has so stubbornly ignored. Hearing the two genres come together? Well, that’s why this is nothing short of a musical dream come true.

Kaleidoscope will be released on October 20.

Purchase more from Tiesto on iTunes | MySpace | Official Website

Technologic is quite a creation. Started by the joint fandom of its two members, Ray and Martina, the band united with the aid of the Pet Shop Boys official forum. Soon after they began speaking, the two began constructing songs together and creating a joint sound. Though they didn’t meet in person for another year, Technologic went on to record their debut album, Classic, in 2002. Quite unjustly however, the band has yet to be properly represented by a label. A complete shame, as Technologic deserves to be heard. Like an ode to their fandom, Technologic’s sound is as unapologetically synth-pop as PSB, yet the catchy melodies and hooks are buried beneath complex house, electro, and trance elements.

Here now is a free song available for download, “We Can Be,” a song that envelops familiar ’90′s house loops with a lounge-like, electro-fied modern edge. The song is aided by a nice, distant vocal delivery remihniscent of a sound somewhere between early Ladytron and Client. You may listen to the track streaming below, or download the mp3 for free right here, right now!

For more on Technologic, check out their website here, as well as their MySpace, which features loads of brilliant songs such as “Love Letters,” “We Are Technology,” and my personal favorite, “City Lights.”

Don’t forget to purchase Ladytron‘s Velocifero today!

It’s not their best, but do it anyway!

Ladytron’s new album Velocifero, is still about two months away from a physical release, but for the more digital minded, the album has already arrived in leaked form in the past few days. Still in keeping with their more mainstream electronica sound, the album plays much like an addendum to Witching Hour. In itself, it’s a wonderful compliment to bestow upon the band. However, with many of its songs so similar in to songs already hidden within their discography, the album suffers from its frequently identical beats. As soon as “Ghosts” kicks in, it’s clear that the pattern has been recycled: driven synthesizers, isolated vocals, and the ominous overtones that permeated Witching Hour.

“Burning Up” and “The Lovers” for instance, might as well be wedged between “Weekend.” Then there’s “They Gave You A Heart, They Gave You A Name,” which plays like an updated version of their 604 album track “He Took Her To A Movie.”

But not everything feels as replicated. The New Wave-ish “Deep Blue” incorporates some darker vocals and a nearly orchestral array of electronic sound. “Predict The Day” is a wonderfully experimental warp of the Ladytron sound, featuring a strong stepping bass and a lot of sticky, urban beats. “Versus”, the album’s closer track, may be the album’s greatest moment, featuring male and female vocals, a whistling middle-8, and a soaring chorus that could be considered downright folk. It’s the closest thing to a departure for the album (next to “Predict the Day”), but considering the same-y sound trickling down the album tracks, it’s a real treat.

Velocifero is still a slightly more concentrated, sophisticated album than its predecessor. While Witching Hour had its share of standout moments (“Destroy Everything You Touch”, “The Last One Standing”), Velocifero serves as a more interwoven compilation of tracks—which could be taken as a compliment or a criticism. Simply speaking, the album is a success, though I cannot call it their finest moment. Their signature sound has been repeated, at times in a nearly identical fashion. That being said, there’s no harm in using what works. I’m still pleased with the outcome, but I do hope that the band takes greater leaps into the unknown next time.

Be sure to pre-order the album now to get the bonus “Ghosts” 7″ single included.

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DL: Ladytron – Ghosts
DL: Ladytron- The Lovers
DL: Ladytron – Predict The Day

Very exciting, very official. The new album cover for Ladytron has been unveiled on their official website (which you can see to the left…very Milano Chow, yes?), as well as a complete list of tour dates (which you can find under the “read more” cut below), and most importantly…the lead track from their upcoming album Velocifero! You can download the new song below. It’s out of this fucking world–I kid you not. The fattest bass in the world coupled with a real punched up, crashing beat. The vocals don’t kick in until two minutes in, but when they do, it proves that this is true Ladytron stuff. In terms of atmosphere, this style is a bit less ghoulish and a bit more processed and layered. Though the song doesn’t take off from where it begins necessarily, it operates as the perfect kind of album opener. I see this as another marker of success for Ladytron, who only seem to evolve their sound with each album. And it’s just so fucking cool sounding!

Be sure to pre-order the album here so that you can get the super sexy 7″ single of their song, “Ghosts” before June 3rd. I can’t wait for more!

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DL: Ladytron – Black Cat

30 Apr Academy 3 Manchester United Kingdom
1 May Vooriut Gent France
2 May La Maroquinerie Paris France
3 May Paradiso Amsterdam Netherlands
5 May Postbahnhof Berlin Germany
6 May Backstage Munich Germany
7 May Magazzini Generali Milano Italy
9 May Forward Festival Madrid Spain
10 May Forward Festival Valencia Spain
13 May Oran Mor Glasgow United Kingdom
14 May Ditital Newcastle United Kingdom
15 May Astoria London United Kingdom
16 May Tripod Dublin Ireland
20 May The Starlite Room Edmonton AB Canada
21 May The Warehouse Calgary AB Canada
23 May Commodore Ballroom Vancouver BC Canada
24 May Showbox Seattle WA USA
25 May Wonder Ballroom Portland OR USA
27 May Fillmore San Francisco CA USA
29 May Henry Fonda Los Angeles CA USA
30 May Henry Fonda Los Angeles CA USA
31 May The Belly Up San Diego CA USA
2 Jun In The Venue Salt Lake City UT USA
3 Jun The Gothic Denver CO USA
5 Jun Palladium Ballroom Dallas TX USA
6 Jun Stubbs Austin TX USA
7 Jun Meridian Houston TX USA
8 Jun House Of Blues New Orleans LA USA
10 Jun Club Firestone Orlando FL USA
11 Jun Czar Tampa FL USA
12 Jun Studio A Miami FL USA
13 Jun Variety Playhouse Atlanta GA USA
15 Jun Bonnaroo Festival Manchester TN USA
16 Jun The Pageant St.Louis MO USA
17 Jun Vic Theater Chicago IL USA
18 Jun St.Andrews Hall Detroit MI USA
25 Jun Terminal 5 New York NY USA
26 Jun Theater Of Living Arts Philadelphia PA USA
27 Jun Sonar Baltimore MD USA
28 Jun 9:30 Club Washington DC USA
30 Jun Paradise Boston MA USA
2 Jul Metropolis (Jass Fest) Montreal QC Canada
3 Jul Theatre Imperial de Quebec (Summer Fest) Quebec City QC Canada
4 Jul Harbourfront Centre Toronto ON Canada
12 Jul Gorgeous Ground @ Pantai Carnival Ancol