Britney Returns In All Of Her "Glory"

Even as a fan, I was skeptical at first. Britney Spears was releasing her first album since 2013 -- undoubtedly pushed back thanks to her dazzling, wildly successful Vegas residency show "Piece Of Me" -- and she was calling it... "Glory"? It's certainly an odd choice for a pop album title. (My first thought: is she going gospel?) But after pressing play only once, and again with each subsequent listen, the name is more than fitting. This ambitious collection of songs revels in the many sides of Spears at a creative peak. Not since her 2003 career-best "In The Zone" has her music been this eclectic and experimental.

"Glory" has moments on nearly every track where my jaw practically dropped at the maturity and confidence of the production values, almost forgetting that it was a mainstream Spears effort. The rich, electronic auras of opener "Invitation" and "Just Luv Me" lend an ambient, ethereal flow to a performer better known for high-energy danceability. The silky prowess of lead single "Make Me" shows Spears as an artist who embraces her sensuality as a sensible adult woman, rather than her former days as a teenage marketing gimmick. The brazenly frothy hooks of "Private Show" and the flirty disco variations of "Do You Wanna Come Over?" are familiar territory that quickly become uncharted with clever vocal arrangements and instrumental twists.

Elsewhere, globe-trotting textures abound; reggae vibes ("Slumber Party"), Middle Eastern flair ("Better"), and Latin infusions ("Change Your Mind") are daring yet solid maneuvers that give her sonic palate a much-needed boost in diversity. Even closing track "Coupure Electrique" (roughly translated, "Blackout") is a haunting, Goldfrapp-esque indulgence...sung entirely in French, no less! Yes, this is still the same album. Spears has clearly one-upped and outdone herself. The sky's the limit now for what she could possibly try next. I've been saying for years that she should take a cue from Madonna's 1995 set "Something To Remember" and put out a whole album of ballads. Unlike her earlier work, the slower, more contemplative songs here fall short, as evidenced by the icy paranoia of "Just Like Me" and the desperate longing of "Man On The Moon." However, this brief lapse represents an opportunity for Spears to take back the wheel and steer toward the rest of those strengths in the future.

Meanwhile, runner-up favorite "Clumsy" glides through a full spectrum of tunes in a few short minutes. A deceptively simple, wickedly catchy hand-clap beat suddenly gives way to a hypnotic chanting chorus underscored with syncopated sizzle, all set in motion by a playful exclamation of (what else?) "oops." By far, though, the most impressive song is "What You Need," a brassy, fiery throwback that nods heartily to the burlesque sirens of yesteryear. Spears delivers a gutsy and glamorous big-band ditty that, miraculously, doesn't feel out of place amid the many other varied styles on display.

Just the strategically placed F-bombs alone during two pivotal tracks would have been enough to deepen my appreciation of her legacy in the industry. Nine albums in, Spears has finally joined the club of pop stars (like Pink, Christina Aguilera, Rihanna, and Beyoncé before her) who respect that their fans have grown up right along with them. These artists are comfortable enough to speak (or sing) their minds without fear of reprisal or censorship for their honest language.

Spears is indisputably a pop-culture icon to listeners from my generation, but her relevance to the current crop of millennial consumers is under fire. With "Glory," she has taken time to sincerely craft an album that awakens her potential to reach a new, wider audience. By periodically igniting her own sense of innovation, she can easily defeat the apathy of expectations -- with the power to not only challenge herself but also surprise even her most loyal followers.