Diamondback Online - The University of Maryland's Independent Daily Student Newspaper

It's déjà vu for pop superstar Mariah Carey.

Her last album, The Emancipation of Mimi, got rave reviews by critics and won a Grammy in 2006 for Best Contemporary R&B Album. But Carey's latest attempt, E=MC2 (supposedly meant to stand for Emancipation = Mariah Carey squared; sound familiar?) isn't saved by the fact that it has a title similar to that of the award-winning record.

E=MC2 has its high points, as any well produced album is bound to, but most of the singing, lyrics and beats seem to be recycled, just like the record's name.

Potential buyers shouldn't be fooled by the album's first single, "Touch My Body." It's a bubblegum-pop sensation, reminiscent of the good old days of "Always Be My Baby," but in the 12 years since that song was released, Carey has tailored her lyrics to the times, gearing them toward a much more modern (not to mention kind of skanky) teenage crowd. "If there's a camera up in here/ Then I'd best not catch this flick/ On YouTube," she sings. Later on she gets a little more risqué while crooning, "Let me wrap my thighs/ All around your waist/ Just a little taste/ Touch my body."

Listeners might even be conned into thinking the album is up to par upon listening to the first track on the record, "Migrate." It begins immediately with Carey displaying that, even in her late 30s, she still has her ridiculous range to fall back on, should her great legs and perfect hair ever fail her. Later, the high notes become slightly synthesized over a heavy bass. Instead of drowning out her natural voice like synthesizing does to most artists, it makes it one of the most radio-relevant tracks on the album, perfect for singing along to.

After these tracks - the first two on the album - even guests Damian Marley and Young Jeezy can't save the unoriginal mess of mediocrity that E=MC2 becomes.

"Cruise Control," the track that features Marley, is the first of many slow-paced snoozers. This one in particular leaves listeners wondering: Why feature Marley in a song and not try a fresh Caribbean beat to spice up the bland sound? The extent of his input in the track is a few well-placed, Jamaican-accented "Yah!"s in the background. By the time he really gets to chime in, it's long after the point listeners would have moved on to the next track.

"I Wish You Well," the closing track, features Carey's voice backed only by piano. Although the song attempts to channel a gospel sound, even Carey's consistent voice doesn't break the mold and enter "soul" territory; the song is left as boring as any other on the record.

Carey's problem seems to be that she can't find any upbeat tempos that work with the album's melancholy themes. She meanders from slow R&B song to slow R&B song, never piquing interest in those who are looking for her to incorporate some of her old pop sound. Worse, she very seldom shows off her impressive range, which might be the only way she could have added significant interest. It would have been nice for her to convey some of the feeling she clearly channeled into her lyrics through her powerful voice or through more striking rhythms.

By no means is Mariah Carey - the woman who is slowly catching up with the Beatles in the contest for the most No. 1 singles - running out of steam. She just needs to find her creative motivation so she can use her talent to make each new attempt intriguing and unique. Until that point, E=MC2 isn't anything groundbreaking (scientific or otherwise).

courtney.pomeroy@yahoo.com

RATING: 2 STARS OUT OF 5

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