So it comes as no surprise that Christina Aguilera titled her 6th studio album after a 6 year hiatus Liberation. Sometimes doing too much and sometimes not doing enough. Christina has been forced to go left, go broad and overthink her albums. Peers of whom have gone on to have greater success than her.

Forced her to a point where she's had to be overly careful and conscious of what she puts out - in a bid to pull away from the peers that we've always compared her to. We have forced her to put out certain songs. This weakness is also a strength, as it shows that Aguilera didn't take an easy route with Liberation: she instead found a hybrid between the personal and commercial, which makes the record resonate emotionally no matter what success it may or may not have.When I think about Christina's albums, I see them as reflections of how the public, the music buyers and media have viewed her and criticised her. This stickiness can be a shade too mawkish, but the greater flaw of Liberation is how its blend of R&B reflection and tense testifying doesn't seem to be an easy fit on any format in 2018. Christina's growth as a writer and singer helps balance her lingering sentimental streak, a tendency that can occasionally curdle into the saccharine. Such reflection and measured outrage lend Liberation a gravity lacking in other Aguilera records, and its sober perspective carries over to 'Sick of Sittin',' an infectious piece of diamond-hard funk that finds Aguilera leaning into a newfound rasp in her voice. Certainly, Christina spends a fair amount of time singing about lasting love and motherhood, even offering a MeToo anthem in the form of 'Fall in Line,' a dense, angry duet with Demi Lovato. Much of the album is devoted to moody moments of self-reflection and anthems of empowerment, giving the distinct impression that Aguilera is figuring out how to mature within the confines of chart-oriented music. Paak, who are both credited as producers, Liberation isn't a record designed for the clubs. Despite the fleeting presence of Kanye West and Anderson. Liberation seems to be constructed as a response to its failure, as it finds Aguilera abandoning shiny hooks for hip-hop beats and smoldering ballads. Lotus was designed to reverse this downward trajectory, but despite having its share of gleaming dance-pop, it didn't generate a pop hit.

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