Unless you’ve been living under a rock for the past ten years, surely you know Britney Spears. A pop sensation since the age of seventeen, Britney has released seven hit albums as of 2011 and has sold over 100 million records worldwide. She is a pop diva in every sense of the term. However, Britney’s personal struggles have been as well documented as her career successes. A series of failed marriages, custody battles and a stay in a psychiatric ward ended up splashed across tabloids and many wondered if she had permanently lost her way. Then in 2008, Britney released Circus, which sold 4 million copies worldwide and garnered critical approval. Some still wondered if it was a one-off, if she was really back, or if the album was all smoke and mirrors. Now, with the release of her latest album, I am happy to say that not only is Britney Spears back, but she’s better than ever. Femme Fatale is her seventh album, and it may just be her best to date. Filled with many club-ready dance tunes and enough auto-tune to satiate The Black Eyed Peas, Femme Fatale is the perfect Britney Spears album- a mindless but completely enthralling ride through the endless, wild party scene that constitutes her life. The album never takes itself too seriously and there are no heavy ballads or songs designed to pull on our heartstrings. Some may argue that auto-tune degrades an artist. Sometimes that is true, but Britney Spears embraces it and uses it to her advantage on Femme Fatale. The main asset of Femme Fatale (and one that it delivers in excess) is the irresistible dance-pop nirvana that we’ve come to expect from our princess of pop. Hit singles “Hold It Against Me” and “Till the World Ends” are both exhilarating, no-strings-attached dance records sure to get even Brit’s most outspoken critics moving out on the floor. The lyrical content isn’t groundbreaking, but the beat is catchy and that’s all that really matters with Britney Spears. Femme Fatale contains some of the greatest songs that Britney has ever recorded: “I Wanna Go” is a synthesized ode to glamorous club living that recalls hits like “Womanizer” and “Toxic”, while “Seal It With a Kiss” is Brit at her flirtatious, beat-propelled best. Missteps like the monotonous will.i.am collaboration “Big Fat Bass” and the cloying “Trip to Your Heart” are covered up by the toe-tapping dance-readiness of tracks like the slinky, sexy “Trouble For Me”, the boozy party anthem “How I Roll” and the fiery, frenetically sensual “Gasoline”. The single bone I have to pick with Femme Fatale is that we only get a peek at Britney’s real voice a couple of times. The closest we come to a Britney without auto-tune is on the undeniably forgettable “Criminal” and the steamy synth-tune “Inside Out”. More Britney would have been nice, considering the fact that this is a Britney Spears album. Perhaps that’s part of the fun of Femme Fatale: the album gives us a new confident, sexy, robotized Britney Spears unlike any version of her we’ve ever seen before. There’s something to be said for an artist who gives her fans everything she has and perseveres through personal struggles in order to release an album almost as audacious as she is. And in most instances on the album, Britney’s tribulations have a big pay off. Femme Fatale is one of the best albums that Britney has ever released because it gives us the true essence of what Britney brings to the table as an artist: fun, provocative, danceable tunes that will keep us moving to the beat for as long as we possibly can, because, well, this is Britney Spears we're talking about.