OH MY GODNEY.

OUT Magazine has just published the full (e-mail) interview and photo spread from Britney‘s upcoming April issue, lovingly titled ‘Britney E-Mails Her Heart.’ (Song reference is MuuMuse Approved!)

Spoiler alert: IT’S AMAZING.

Brit Brit refers to Femme Fatale as her “most upbeat and mature album yet” and further discusses working with Will.I.Am and Sabi within the magazine Q&A, as well as declaring Natalie Imbruglia‘s Left Of The Middle as “lifechanging.” (Nice choice, B!)

Additional highlights include her recalling the fact that the label execs wanted her to play a superhero fighting a giant robot monster for the “…Baby One More Time” video and once again spotlighting Madonna as her inspiration. Additionally, she declares that she loves Lady Gaga (“unique”) and Rihanna (“‘S&M’ is awesome”) and finds Christina Aguilera “truly talented.”

But don’t let me spoil all of it…read the full thing now!

In the meantime, I’m still utterly GAGGING over these photographs. So Matureney! So “Outrageous”! Dark, sexy and mysterious? Yup–looks like our Femme Fatale to me!

Now someone get me these photos in high quality…STAT!

Well, the year is just about over now, which means that those “Best Of 2009″ lists just won’t let up anytime soon. Two weeks ago saw my “Top 40 Albums of 2009″ list. Now, it’s time to get down to the finest singles of the year. LET’S DO THIS.

All chart and sales figures provided by Wikipedia.

20. Mariah Carey – Obsessed (Listen)
It was the guiltiest, most quotable pleasure of the year: “Obsessed,” the so-bad-it’s-good, so-good-it’s-bad mid-tempo jam leading off the charge of Mariah Carey’s less than successful twelfth studio album, Memoirs of an Imperfect Angel.

You love it, you hate it, but there’s no need to get all fired up with your Napoleon complex; the only thing that could have made this song better would be if it came bundled with a George Foreman grill and a bottle of Windex.

“Obsessed” topped the charts at #7 on the US Hot 100, as well as #1 on the Billboard Hot Dance Club Songs list and Top 20 in many territories around the world.

19. Beyonce – Video Phone ft. Lady Gaga (Listen)
Though it would be impossible to top the weave-tossin’, hip-poppin’ brilliance that is “Diva,” “Video Phone” is just about as close as you can get to replicating that level of fierce-nass. Already an instant classic off of I Am…Sasha Fierce, the injection of Lady Gaga‘s ridiculous, warbling verses and a tranny-tastic music video made the song damn near untouchable.

That being said, “Video Phone” generally failed to catch on with the general public, stalling at #65 on the Hot 100 with no sign of fueling back up again anytime soon.

18. Cheryl Cole – Fight For This Love (Listen)
It was the tensest moment on X Factor this year: The debut performance of a solo Cheryl Cole. What would she sound like? How would the song fare? Breaking out with a hip, sleek routine (once a soldier, then a samurai) and a nasty dance break sequence, Cheryl fought, fought, fought for the public’s love, effectively dominating the latter half of 2009 with her debut single.

Though not the strongest song off of her debut 3 Words, it’s certainly the most influential: “Fight For This Love” broke the record for the fastest selling UK single, debuted at #1 in both Ireland and the UK, and scored the highest first week sales for a single in 2009.

17. Ke$ha – Tik Tok (Listen)
It’s loud, it’s obnoxious, and it’s all I listened to during the summer: “Tik Tok” is drunk-pop revelry at its finest, and one hell of a way to debut.

The song as just hit #1 on the Hot 100, according to yesterday’s Billboard news.

16. Shakira – She Wolf (Listen)
If anyone else sung this, it would be a disaster. But it’s not just anyone–it’s Shakira, the lust-worthy Latina songstress capable of making a coffee machine in an office sound downright sexy. The release was aided by an equally weird/brilliant video, featuring the singer doing enough limb-bending choreography to have Gumby crossing his legs in pain while watching.

“She Wolf” and its Spanish counterpart “Loba” climbed to the #11 spot on the US Hot 100 and a #1 position on the Hot Dance Club Songs list, as well as dozens of Top 10 positions all around the world.

15. Madonna – Celebration (Listen)
Ringing in over twenty-five years of international success in the music industry as the world’s reigning Queen of Pop, “Celebration” had quite a bit of hype to live up to. While some criticized the singer for trying too hard to maintain relevancy, the song served its purpose and ultimately contributed to the Madonna legacy of pure, unadulterated escapism tacked to a disco dancing beat.

While “Celebration” stalled at #71 on the US Billboard Hot 100, the song took a Top 5 charting across most other parts of the world, including a #3 peak in the UK’s Single Chart.

14. Rihanna – Hard (Listen)
Leading off one of the year’s best albums, Riri goes harder than ever before with a cocky chorus and a newfound swagger and delightfully confident sexuality. Lots of brags (“The hottest bitch in heels right here”) and lots of burns (“Ain’t like me, that chick too phony”). And as for that personal shout-out near the song’s end? “Where dem blah-gahs at? Where dem blah-gahs at?” Yeah…bonus points all around.

“Hard” has since climbed to the #11 position on the US Hot 100, though it’s still too new to declare the song’s peak position.

13. Sugababes – About A Girl (Listen)
As the unexpected dawn of a new era began late this year with the departure of Keisha Buchanan and the arrival of Jade Ewen, haters and doubters declared the girl group officially dead.

As it turned out, the Sugas have never sounded sweeter. “About A Girl” was the defiant anthem the girls needed to survive, earning a #8 spot on the UK Charts and proving that Jade Ewen is a voice to be reckoned with.

12. Lily Allen – The Fear (Listen)
Leading off the campaign for her sophomore album, It’s Not Me, It’s You, “The Fear” took a wry stab at the socialite life. With Greg Kurstin‘s glittering electronic beats and that gorgeous, dizzying chorus, it’s not hard to miss out on Allen’s dripping sarcasm: “I’ll take my clothes off and it will be shameless /’Cuz everyone knows that’s how you get famous.”

The song took the #1 spot on the UK singles chart, as well as scoring the “Best Track” award at the Q Awards.

11. Natalie Imbruglia – Want (Listen)
It’s all that you could ever want, over and over again: A lush, disco melody on repeat, “Want” is the sugary surprise single that led the march for Imbruglia’s solid fourth studio album, Come to Life.

Sadly, the song was never quite given its due credit, eventually peaking at #22 in Australia and #88 in the UK.

10. Gossip – Heavy Cross (Listen)
Did any other song send a chill running down our spines this year quite like Beth Ditto‘s howl of “I choose you!” just one minute into “Heavy Cross”? Doubtful. The song itself is a rocking smash, complete with jagged guitar riffs and disco-tinged drum beats, but it’s the Fred Falke remix made this release truly sublime.

The single premiered quite well overseas, including the #2 position in Germany and Switzerland, as well as the #14 spot on the US Billboard Hot Dance Club Play chart.

9. La Roux – Bulletproof (Listen)
Say what I have about Elly Jackson‘s nasty attitude or her oft-insufferable falsetto, La Roux’s debut provided some of the catchiest, hookiest tracks of 2009. Add some bright, colorful ’80′s-flavored beats to one unstoppably catchy chorus, and there you have it: “Bulletproof,” a track that more than validated all those “One to Watch” list predictions last year.

“Bulletproof” took the #1 position on the UK charts, a #1 slot on the US Dance Charts, and a gold certification in Australia and New Zealand, amongst dozens of other countries.

8. Annie – Anthonio (Listen)
With the 2008 Don’t Stop campaign at a halt for more than half a year, “Anthonio” was the much-needed reassurance that the Anniemal was still alive and well. Soothing, melodic italo-disco sweeps over the speakers as the singer recalls the tale of the no-good, dirt bag who left alone and pregnant. What more could you ask for?

While it never landed a spot on the main Singles charts, “Anthonio” climbed to #5 on the UK Indie Chart.

7. Girls Aloud – Untouchable (Listen)
The word epic is far overused in modern society, but this song cannot be properly described by any other term: Clocking in at just under seven minutes, “Untouchable” is the Girls Aloud’s own “Bohemian Rhapsody,” complete with euphoric flares of synthesizers and a classic Xenomania beat.

In the greatest Pop Injustice of 2009, “Untouchable” charted just outside the Top 10 position in the UK at #11, effectively ending the girl group’s run of twenty Top 10 singles.

6. Florence + The Machine – Rabbit Heart (Raise It Up) (Listen)
I’d seen some references to Florence over the summer, but it wasn’t until her performance of “Rabbit Heart” on Later…with Jools Holland that I realized just how magical this witchy woman and her music actually were. Honorable mentions go out to the equally deserving subsequent singles from Lungs, including “Drumming Song” and “You’ve Got the Love.”

“Rabbit Heart” peaked at #12 on the UK Singles Chart.

5. Bat For Lashes – Daniel (Listen)
Haunting vocals, warm droplets of synthesizer, and an endless, searching sense of loneliness, “Daniel” quickly became the clear, crowning victory of Bat For Lashes‘ Two Suns sessions.

“Daniel” peaked at #36 on the UK Singles Chart.

4. Royksopp – Girl and the Robot (Listen)
Combine Sweden’s Pop Princess with Norway’s electro-geniuses, and you’ve got yourself the greatest robot love song from a Swedish chanteuse since Margaret Berger‘s “The Robot Song”…and that’s saying a lot.

The song took on the #2 position on the Norweigan Singles Chart and a surprisingly modest #25 position on the Swedish Singles Chart.

3. Britney Spears – 3 (Listen)
Considering it’s Britney (bitch), “3″ is pretty low on my “Best Of” list. With a less-than-stellar video (the director’s cut having redeemed the original), Britney’s ode to playing Yahtzee with a friend or two (or Freudian exploration of fantasy, depending on who you ask) walks the line between sexy and sleazy a bit too unevenly, at times coming off childish and tacky (which is why I’m ready for a break from further Max Martin collaborations.) Subject matter aside, it’s still an unbelievably catchy record, and one hell of a Britney classic.

The single was an instant success with radio, nabbing the #1 spot on US radio, as well as a position in Top 10 charts all across the world.

2. Ellie Goulding – Under the Sheets (Listen)
Up until a few months ago, newcomer Ellie Goulding had released nothing but a few demos and behind-the-scenes videos on her MySpace.

“Under the Sheets,” her debut release, is a gorgeous, multi-layered tapestry of hypnotic electronica and breathy vocals, not all that far from the major league stuff of Imogen Heap and Björk. The song’s replay-ready quality, coupled with a yelp-at-the-top-of-your-lungs harmonies has, for better or worse, sprinkled all sorts of high expectations around the upcoming release of her debut album in 2010.

“Under The Sheets” has since peaked at #53 on the UK charts.

1. Lady Gaga – Bad Romance (Listen)
A crashing anthem of a chorus. Hitchcock references. A vogue-ready middle eight. Hooks a plenty. Nonsensical syllables abound. Fame. Death. Sex. Love. I’m a free bitch, baby.

As the most powerful, raucous celebration of pop music in years, “Bad Romance” has finalized Lady Gaga’s transition from a flavor of the month to an icon in the making. Though she may credit “Speechless” as her greatest song to date, it’s “Bad Romance” that takes the title in my book blog.

The song took the #2 spot on the Hot 100, as well as a #1 ranking in several countries internationally, including Canada, Italy, Sweden and the UK.

As if there were any question, “Bad Romance” is the best single of 2009, bar none.

Natalie Imbruglia has released one of the finest singles of the year (from a rather strong album to boot), and it’s called “Want.”

The #1-worthy song currently resides at #22 on the Australian charts. Let’s change that around, shall we?

To encourage the ‘buying mood,’ please enjoy this totally free, totally legit Cassette Club mix of “Want,” a throbby, synthy affair that slows down the BPM and fills in the gap with a deep, funky bass and some sparkling electro.

DL: Natalie Imbruglia – Want (Cassette Club Remix)

Purchase “Want” on iTunes Australia | Purchase “Want” on iTunes UK | MySpace | Official Website

FINALLY. After weeks of waiting, here it is: The video premiere for Dannii Minogue‘s new single, “Want.”

I kid. I kid.

But honestly, isn’t this all a bit “I Can’t Sleep At Night”? The closeups, the camera, the voyeurism…all she’s missing is a chocolate mold on her face and a more-commercially-successful-yet-not-necessarily-more-talented pop singer sister, and bingo…it’s a match!

Looking gorg’ as per usual, Natalie. A solid piece of film to accompany a most solid single release!

“Want” will be released on September 28.

Purchase more from Natalie Imbruglia on iTunes | MySpace | Official Website

(Forgive the brief cut-out at :35 seconds and the unintentionally hilarious backwards loop at 5:45.)

And now, a clip of Natalie Imbruglia playing her very first V Festival set, including a brief interview afterward.

With each passing day, “Want” becomes more and more of a serious contender for Single of ’09. Who’s with me? I could listen to this on repeat for days…

…that is until we hear “Scars,” the track Chris Martin called “the best Coldplay song of all time,” on her upcoming record, Come to Life.

Combine Dannii Minogue‘s “All I Wanna Do,” the ’60′s tinge of Emma Bunton‘s Free Me, add a sprinkle of Sophie-Ellis Bextor‘s cold disco delivery, and there you have it: The winning formula to Natalie Imbruglia‘s lead single, “Want,” off of the upcoming album Come To Life.

It’s been an hour, and I’m still on full repeat. It’s bitter, dark–yet smooth and sultry all the same. These live performances of more new songs off the album only seem to underscore my belief that Imbruglia’s about to become a severe force to be reckoned with this year.

Come To Life is due out on October 5.

Purchase more Natalie Imbruglia on iTunes | MySpace | Official Website

If you weren’t already aware, Alanis Morrissette‘s got a new record out, and it’s quite good. But don’t take it from just me…take it from me and my guest writer, RJ (AutomaticTLC).

RJ:

I live the American dream and can back this up with one simple trait that over two-thirds of Americans all share: I haven’t listened to an Alanis Morrissette album since Jagged Little Pill. With that being said, as soon as it was let out that this forgotten rock star was teaming up with the lush and lovely Guy Sigsworth, Flavors of Entanglement automatically jumped on to the “buy this now” list.

Alanis could care less about the opening paragraph of this review, because according to track number one, she is a “Citizen of the Planet,” not just the United States. African, Middle Eastern and modern rock influences electronically thrive through this absolutely flawless aggressive down-tempo vibe and sounds like something that could be played over the opening track of an epic movie. A Natalie Imbruglia-esque “Underneath” plays after.

Flavors of Entanglement‘s highlight track is not buried too far into the album. “Straitjacket” is five steps up from Britney Spears‘ “Piece Of Me,” and grabs the listener from the beginning industrial grinding synths, angst filled lyrics, and the line, “I don’t know who you’re talking to with such fucking disrespect” all the way through to a bass drop, when the track then explodes into an angry and emotional diary that vows, “I swear you won’t be happy till I’m bound in a straitjacket.” Well Alanis, I always did like you better when you were a raging psychopath. Ryan Reynolds (Alanis’ ex) must be shaking in his boots.

The music your ears will moan over doesn’t stop in the insane asylum. “Versions of Violence” follows with eerie dragged out verses and is offers a call out to any sort of violence, lamenting that no matter how small of a violent act is committed, a mark is still left on that person. “Not as We” smooths things out with a solemn piano melody. Its a nice break and allows you to turn down the volume, as the prior two tracks demanded that you cranked it up.

“In Praise of the Vulnerable Man” dives into more happier territory and offers the epic “Moratorium” to build and lead you to think back of Frou Frou‘s “Shh” and “Psychobabble” songs off of their wildly popular Details album. From here on out, the album pretty much follows in the same path as its been going on, as “Torch” offers yet another piano track and “Giggling Again for No Reason” which sums up every aspect of the album, as it offers an electronic haven, as well as a down-tempo groove and a small bit of guitar. Giggling not only gets respect for its super cute track title, but for its eclectic energy.

“Tapes” starts out like something that experimental group Pink Floyd would take a stab at producing if they were still together and trying new things in the studio and continues to keep an ambient-like state, while still staying true to the electronic-rock sound that drives this album. Haunting background vocals that start toward the middle of the track and then resurface towards the end make this song a special gem in Flavors of Entanglement.

Sadly, “Incomplete” sounds extremely incomplete and could have easily been replaced with something else to finish the album. Lyrically, it has everything that usually ends out an album that is this amazing, however, the lyrical melody of the verses offers a childlike atmosphere, as does the acoustic guitar sound, but until this point, the album has been strictly mature-adult sounding. Why bring on the extreme happiness now? Doesn’t make sense, however, the chorus offers layer after layer and has subtle Imogen Heap-like background vocals, which is a plus.

Overall, the album is like this: you know when you’re out in the cold and someone keeps punching you over and over again and it hurts extra hard in the spot they keep hitting you because your body is borderline numb? Flavors of Entanglement offers that punch and while its not the same “I will burn down your house motherfucker” momentum that her debut album offers, its the best thing since.

Note: Please make sure to play this album through your stereo. It sounds so much better than listening through computer speakers.

Brad:

“I don’t know who you’re talking to with such fucking disrespect,” the Canadian songstress growls off the top verse of “Straitjacket” the third track from the upcoming album, Flavors of Entanglement. And in that moment, there’s little doubt of what’s already been established: Alanis Morrissette is at her prime when pissed. It’s a fact that’s been beaten to death within mainstream media over the past ten years. But unlike the ultra-angst of Jagged Little Pill and Supposed Former Infatuation Junkie, discontent is only a minor theme of the Flavors experience. There’s contemplation, restlessness, and pure happiness…all components of Alanis’ dizzying array of emotions in the past few months.

Written during the break-up period of her engagement to Ryan Reynolds last year and produced only a few months ago, Flavors features an array of emotions that have only recently been tapped. As she’s explained in recent interviews, the album is very much a snapshot of the very recent experiences in Morrissette’s life. With the help of producer Guy Sigsworth‘s signature gothic, stringed tinglings of electricity, the songs featured here offer a stunning variety of sound–perhaps her most diverse collection yet.

Morrissette is still a brilliant storyteller, and tracks like “Underneath,” the lead-off single, illuminate her talent in its exploration of the inner arguments that make their way out into the grander scheme of things. There’s the breathlessly beautiful, simple piano ballad “Not As We” which showcases a more uncommonly seen vulnerable side, while “Versions of Violence” exists as a menacing almighty eruption of discontent. In fact, it’s difficult to go through a track-by-track review, as each song is so wonderfully crafted.

One particular, unexpected standout from the pack here though is “Giggling Again For No Reason,” which might as well have been an album track right off of Imogen Heap‘s epic Speak For Yourself. It’s beautifully listless and teeming with richly layered sound in the same style as the gloriously talented Ms. Heap. “Tapes” too is an outright triumph, featuring an out of body-like experience into the mind of the artist herself. As the album glides into its final throws, this electro-lite masterpiece is an impressive source of delight.

Flavors is probably her finest moment since her breakthrough album released ten years ago. I could recall at least eight tracks off the top of my head that I would classify as instant successes, which is an incredibly rare occurrence for a single album. You’ll certainly be seeing this one featured in the “best of” write-ups later on in the year. With lyrics as searching as that of Supposed Former Infatuation Junkie, jubilant moments of So Called Chaos, and captivating, raw emotion reminiscent of Jagged Little Pill, the album is an laudable collection of things past and a marker of maturity for the artist as diverse and talented as Ms. Morrissette. A true artist, indeed.