The miracle that is Britney Spears’s career continues on its remarkable trajectory with the release next Tuesday of “Blackout.” Spears’s ascension hasn’t amounted to much musically over the course of five albums, but it’s been positively iconic by tabloid standards: from Disney princess to teen-pop pinup to dance-floor provocateur to proud nympho to unfit mother.

In recent years, thanks to a dearth of music and a wealth of personal travails, Spears has made the sordid transition from artist to celebrity. And she wears it well. “Blackout” may be Spears’s most honest and revealing album yet. There’s not much here beyond pulsing beats and digitized moans, and they’re a brilliant mirror of a woman who by all accounts has checked out of life beyond late nights and lattes.

“It’s Britney, bitch” are the first words out of Spears’s mouth on the lead track and first single, “Gimme More.” (Is she talking to me? Was it something I said?) The song - which dropped from No. 6 to No. 13 on this week’s Billboard Hot 100 and is No. 7 among digital downloads on iTunes - is a rough, catchy dance track about hot sex, as are most of the others.

There are two exceptions: “Piece of Me” is pure autobiography, ghostwritten, of course, a stiff little slab of techno over which Spears skewers her media image (”I’m Mrs-Oh-My-God-That-Britney’s-Shameless”) in her best blank robot: manipulated, perfect, unreal. “I filled up my garage for you,” she coos with regret on “Why Should I Be Sad,” the K-Fed kiss-off composed by Pharrell Williams.