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Phineaspoe

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    Madame X album general discussion

    in ARCHIVE - The MADAME X Forum

    Posted

    14 minutes ago, Urien said:

    It's not really a problem because as you said the autotune works in its context.

    But I wish her natural voice came through in some of the tracks or there were more tracks that had her natural voice.

    I cannot stress how minor this is though, because I love this album. 

    Many of these songs are begging for an acoustic treatment. And not just for the tour, but for an NPR/BBC live radio set for YouTube.

    "Batuka" thread

    in ARCHIVE - The MADAME X Forum

    Posted

    48 minutes ago, Geiger83 said:

    I think this song will get a video. Do you guys remember a snippet where M dances and falls on the floor with the batukadeiras around her? Please Gawd let it be true!!! The first time I listened to this song I couldn't believe my ears

    She confirmed a video has been filmed for this song in one of the interviews that are coming out 🙂 

    GET THAT OLD MAN

    PUT HIM IN JAIL

    is going to be one satisfying lyric to sing along at the tour in the U.S.!! 

    “God Control” thread - video coming #soon

    in ARCHIVE - The MADAME X Forum

    Posted

    13 minutes ago, Simo9jo said:

    I just heard this for the first time through headphones and I wasn’t at all prepared to hear what is possibly her best song! I am blown away. 

    Haha, yeah, I squealed more than a few times. 

    It could have been a Hung Up-sized hit if they had followed a more traditional path (that bridge with her voice soaring is begging to be reprised), but they want a different route and the result is amazing. Beyond excited for remixes! 

    Madame X album general discussion

    in ARCHIVE - The MADAME X Forum

    Posted

    1 minute ago, Katypatra said:

    Hey, yes, for sure, everyone had different taste. There is nothing wrong in the fact that you prefer RH more. It’s a great, solid album. And even though I sort of aggressively expressed my thoughts on it in the above post, I do love the album. It’s just that Madame X is one of those albums I finally truly relate with. Almost every song on it speaks to me. And the magnificent, almost psychodelic sound just adds that magic to it. Madonna’s voice is suppressed by auto tune but I actually love it. In a weird way, it’s almost as if she wanted to suppress her ego. Very genius and honestly, works! She’s never been this humble and honest and pure since ROL!!   

    That's a beautiful and interesting way to put it. I've only sinned once (maybe twice) and totally loved the vibe and urgency of this album, but I struggled with the vocoder. Certainly it seems like an artistic choice because it's used so heavily and so creatively, as if it were another instrument, but I kept thinking I JUST WANT TO HEAR THE WOMAN. But maybe that was part of the point. 

    MADAME X album reviews

    in ARCHIVE - The MADAME X Forum

    Posted

    21 minutes ago, Shane said:

    Supposedly there is yet another four star review from Daily Mail, mentioning Looking For Mercy and Killers Who Are Partying as highlights.  Will look for it as soon as I can.

    Thanks, here it is I believe: 

    https://www.dailymail.co.uk/home/event/article-7108089/Madame-X-Madonna-hits-instantly-vitality-variety-omnivorous-hunger.html

    "How do you solve a problem like Madonna? That was the question in 2015 when she released her last album, Rebel Heart. And it still applies today, only more so.

    Once the empress of the hit parade, she has now gone ten years without troubling the Top 20. Her UK album sales, according to Wikipedia, have plunged from 1,340,000 for Confessions On A Dance Floor (2005) to 76,500 for Rebel Heart. Even in a falling market, to lose 19 record buyers out of 20 looks like carelessness.

    Her music has become poor to middling, and her judgment can be even worse, as shown at last month’s Eurovision Song Contest. But she remains a big draw: she’s on the cover of this month’s Vogue and is booked to play 15 nights at the London Palladium — even though the best seats are an uncool £480.

    Once the empress of the hit parade, Madonna has now gone ten years without troubling the Top 20. Yet on her 14th album, the music hits you instantly with its vitality and variety.

    For her 14th studio album she has another new image. I’d hoped to find Madonna fearlessly showing us what 60 feels like by making a record called ‘Freedom Pass’. Instead, we get a portrait of the artist as an ageless waxwork, with not a single wrinkle.

    And the music? It hits you instantly with its vitality and variety, its omnivorous hunger. Working with Mirwais, who produced Music (2000), and five other co-producers, Madonna is back doing what she is good at: scanning the horizon and channelling the times.

    After moving to Lisbon she has fallen for all things Latin. Her opening words, delivered in a white-hot whisper, are ‘One, two, one two, one two, cha-cha-cha’. She keeps breaking into Portuguese and Spanish. 

    She duets with Anitta, the Brazilian singer, and Maluma, the Colombian rapper, who both missed the first decade of her career because they hadn’t even been born.

    Latin music suits Madonna with its supple rhythms and sunny choruses. About ten of these 15 songs have pop-solid hooks, built for the mass market she once ruled. 

    Looking For Mercy has one of the clearest melodies of her career, which is saying something: shame it’s on the ‘deluxe’ version of the album.

    The other songs are more experimental, and uneven. Future brings back white reggae and makes it sing. Dark Ballet is four tracks in one – a piano ballad, a hip-hop chant, a steal from The Nutcracker and a speech that turns Madonna into Mary Poppins. Just the ballad would have been better.

    Killers Who Are Partying is an electro-pop remake of Martin Niemöller’s famous lines about failing to stop the Nazis. ‘I’ll be Islam,’ Madonna declares, ‘if Islam is hated. I’ll be Israel if they’re incarcerated.’ The rhyme is a crime but the song comes off because its chords are as good as its intentions.

    By the end, things are getting personal, with anthems called I Don’t Search I Find and I Rise. It feels as if a memoir is brewing, or an autobiographical movie. Madonna is surely pondering the success of Bohemian Rhapsody and Rocketman. She has the songs: a few more of them now.

     

    Madame X: 5 songs released. What’s your favorite?

    in ARCHIVE - The MADAME X Forum

    Posted

    I am in complete awe of Dark Ballet at the moment. It is absolutely perfect. 

    Medellin and Crave are just brilliant, I love them. It’s been a while since I felt I could play a Madonna single to someone and quickly convince them that if they leave their preconceptions aside and just listen to the music, they’ll enjoy it as much as any other pop songs out there. 

    I Rise and Future are solid album tracks, even though I’d definitely want more Madonna in Future. It’s the only song that I have a disagreement with, so to speak. 

    This is going to be one of my favorite Madonna albums, almost guaranteed. The music finally completely speaks for itself (although the Madame X persona is genius), and in fact invites reaction and conversation. I could not feel more thankful to La Reina for still going at it. 

    Madonna for New York Times Mag (Madonna NOT happy)

    in ARCHIVE - The MADAME X Forum

    Posted

    13 minutes ago, Gus said:
    For those of us who’ve grown up with Madonna always near us — in addition to Janet Jackson and maybe David Byrne, there are very few consistently present pop stars alive for Gen Xers — it feels unlikely we could learn something new about her.
    But in the magazine this week, looking at Madonna at 60, I did learn some things. She’s grown ever more remote and has always been a bit inarticulate, even as she stays in the popular imagination and in the rotation of playlists. It’s interesting to hear fresh perspectives about the through line that AIDS has played in her life, and about what the limits of ambition are.
    (Surprise, though, and a spoiler — Madonna absolutely despises this profile, viciously and graphically described on her Instagram, though I’m unclear on why. It’s often awful to be written about! It’s a very normal reaction, and I think it’s amplified for people who are very regimented and used to being in control of their lives.)

    https://static.nytimes.com/email-content/LI_14044.html

    An editor should take their subject's public discontent seriously, or not comment at all. She thinks she's being clever or that she's standing by her journalist, but in reality she's just being petulant and unprofessional. Which ironically lends credibility to Madonna's claim about the shallow tone and framing of the piece.

     

     

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