Album Review: Christina Aguilera, Lotus

Christina Aguilera

Lotus (to be released November 13, 2012)

Don’t front. You used to love Christina Aguilera. Back in 2000 she had grown men in the hood singing about genies and stuff.

For those who probably don’t remember, the turn of the century ushered in roughly 10 billion interchangeable pop acts. I couldn’t tell you the difference between Eden’s Crush and 98 Degrees (other than their names sound like yogurt shops) but Aguilera always stood out. Even while singing the most sugary-sweet,  nonsensical record, her Sunday choir vocals always provided an edge over her peers.

And at some point, Aguilera completely fell off that edge and into a pit of drama.

Lackluster songs, relationship troubles, an underwhelming movie and a ear-shattering rendition of the National Anthem at last year’s Super Bowl have pushed Aguilera to the back of the pop-star line. Just a couple of days ago, she made headlines again for allegedly trying coax Vanessa Hudgens into her bedroom. If not for Aguilera’s gig on “The Voice,” you’d easily forget that she was once a major music star.

Years of setbacks have allowed a new crop of pop pretenders to take the throne – which means we have Aguilera to blame for Rihanna. Ugh.

Aguilera’s eight album, Lotus, aims to be return to her glory days but the results are certainly mixed.

The album intro lays the groundwork and promises a rebirth. One one hand it works well – Aguilera’s voice as intense as ever. She hasn’t lost a step vocally. But the track features weird auto-tune distortion that sounds both dated and distracting. The album is filled with similar highs and lows.

Speaking of highs, Aguilera is at her best when she can let loose on a ballad. “Sing For Me” is yet another entry in her self-empowerment catalog and it’s a keeper. Her voice is magnificently strong, yet balanced and controlled. Piano keys serve as the backdrop for “Blank Page,” a longing, emotional ballad that Aguilera is built for.

The problems arise when Aguilera tries to return to her pop roots. These days, she sounds more like an imitator than innovator. “Army of Me” is another girl-power track that’s a natural extension of 2002’s “Fighter.” Unfortunately, the former lacks the individuality of the latter. It just comes off like a forgettable album cut, not an empowerment anthem. “Cease Fire” is even worse, sounding like one of those generic tracks American Idol alums would churn out every other month.

Never one to mince words, first single “Your Body” features Aguilera practically demanding sex – and it’s so catchy that it works. She’s one of the few artists who can pull off such crassness without delving into self parody. I can’t say the same for “Circles,” where she demands haters to “spin around in circles on her middle finger.” It can’t decide if it’s angry or goofy. And her one-liners are terrible: “Why you always tryna be up in my mixture?” She’s dissing like it’s 1999. Ugh. “Best of Me” is a much better kiss-off for her enemies – the midtempo track replaces bitterness with determination.

Lotus is a weird album that reminds me of Aguilera’s Super Bowl performance. It’s not terrible but it’s all over the map, which makes for a baffling listen.

Fans of Aguilera on “The Voice” likely will eat this album up (especially “Red Hot Kinda Love,” her track with co-star Cee-Lo Green). The rest of us will just remember better times with genies.

But as Aguilera states time and again on this album, the last thing on her mind is criticism. Plus she’s too busy singing “Your Body” to Vanessa Hudgens.

Best tracks: “Sing For Me,” “Blank Page,” “Best of Me”

3.5 stars out of 5