alcermag

#10 on trends (Mexico) edit, now on #8

Let's make a list of the most used words on the record: - God - Prayer -

I LOVE HER SO MUCH

looks awesomeeeeee!

i love this version so much but at the same time my mind thinks that the song could be part of the new aladdin soundtrack haha but i really love this futuristic version

From my POV this vid sounds like the demo of Funana

First mexican review: Score 9/10 https://www.milenio.com/espectaculos/musica/madame-madonna-ofrece-experiencia-sonica-unica

I found this on twitter! DEAR MADONNA:

This is how looks iTunes México right now! and DB video is on top

NEW REVIEW BY THE GUARDIAN (out today, june 8, 4/5 stars) Madonna: Madame X review – a splendidly bizarre return to form Madonna’s 14th studio album is an engrossing mix of Latinate beats, political allusion – and Joan of Arc Madonna is in her fourth decade of what we now somewhat suspiciously call appropriation, a pick-and-mix skill set that has previously laid the singer open to accusations of unoriginality or, worse, cultural hijacking. But when the patented Ciccone filtration system gets it right, the process is just shy of alchemy. Sexualised Catholicism, at the dawn of MTV, was Madonna’s first stroke of kismet. The last time Madonna was indisputably on point, she had hooked up with French producer Mirwais for Music (2000)and the sensuous possibilities of club culture. Her latterday output has stuttered somewhat, but for Madame X the stars have aligned with Madonna’s Pinterest mood board once again. There are hot climates and a piratical eye-patch; shape-shifting to the sounds of the Portuguese diaspora, trap-pop and reggeaton. It helps, of course, that she self-quotes as much as she soaks up. Is Latin pop in vogue? Don’t mind if Madonna seizes upon it. Medellín, the first track from Madonna’s 14th studio album, arrived like La Isla Bonita on steroids: with Madonna in a lather of faith and lust, exercising her long-held fascination with all things Latinate and in sync with a pop mood attuned to the other Americas. A further hook-up with Colombian star Maluma lurks further down this generous tracklisting: Bitch, I’m Loca flirts with reggaeton and Maluma himself, who plays a delivery man instructed by Madonna to “put it inside”. (Note the title: Bitch, I’m Madonna, remixed; throughout the album, you’ll find Madonna saying a “little prayer” as she did on Like A Prayer (1989), or on her knees “like a virgin”.) This is an album whose most memorable songs are definitely its strangest Colombia is a red herring, however. The songs that became Madame X actually came together during Madonna’s two years in Portugal, where she decamped in 2017 when her son David enrolled in Benfica’s football academy. Madonna absorbed the local sounds with more of a mature, simpatico rather than asset-stripping eye. One lively Portuguese-diaspora tune, Faz Gostoso, makes a pitstop in Brazil, featuring Brazilian singer Anitta. Most “world” of all, however, are the sounds of batuque on a track called Batuka, a ceremonial good-time music of the Cabo Verde islands. Batuka finds Portugal’s Orquestra de Batukadeiras – women from Cabo Verde – helping out on a spiritual call-and-response track about overcoming adversity. There’s a cute video on their Facebook page of Madonna drumming. Add to this a Diplo reggae production, Future, on which Madonna plays at being Santigold, and the hot-climate half of this album adds up to considerably more than the sum of its parts: a polyglot party that feels spontaneous, an internationalism that feels earned, not tokenistic. Naturally, this Madonna album has to respond to other major trends in US pop. Her selection of guests has an eye on hip-hop heat levels, rather than actual chemistry, calling on Quavo from Migos on Future, and Swae Lee from Rae Sremmurd on Crave. Their performances aren’t quite as game as Maluma’s. To say that the former sounds like a track that might have been done by Ariana Grande isn’t a negative, though: here, Madonna pulls off contemporary R&B-leaning pop with no obvious missteps. The meat of the album, however, lies elsewhere. Hidden away in the lyrics to Batuka are topical allusions: “Get that old man/ Put him in a jail.” Quite apart from the many Spanish and Portuguese passages, Madame X is littered with whispered, rapped or digitally cloaked lyrics. It is a political offering – the Eurovision palaver, where Madonna hamfistedly tried to engineer peace in the Middle East, was a foreshadowing – but one in which Madonna’s meanings often perform a kind of seven-veil dance. Easiest to understand is Killers Who Are Partying, a 21st-century digital fado on which Madonna allies herself with the dispossessed and marginalised: virtue signalling, with trap beats on. It’s sanctimonious, coming from a first-world millionaire, but she sings it like she believes it. Often, she obfuscates, but just intriguingly enough. A snippet of Florida school-shooting survivor Emma Gonzalez’s “We call BS” speech begins one song, I Rise. It follows, therefore, that a song called God Control is probably about gun control, as well as democracy and the state of the US. “This is your wake-up call!” warns Madonna, before the whole thing is bathed in glitterball disco and topped off with a schoolyard sing-song rap about how Madonna doesn’t take drugs. It sounds, weirdly, like Daft Punk. This is an album whose most memorable songs are definitely its strangest. Most ambitious of all perhaps is Dark Ballet, a long concept-song about Joan of Arc in which the lyricism of the piano lines startles. Madonna herself is heavily Auto-tuned, mumbling stuff about being a witch; she seems to blow on the flames of a pyre. You get the feeling that Madonna identifies with the French martyr. She spends a lot of Madame X weighing up whether she is crazy, or lost, concluding quite the opposite. “I wasn’t lost,” she sings on Extreme Occident, on the deluxe edition. Killers Who Are Partying bears many declarations, but perhaps the most relevant one is about Madonna herself. “I know what I am and I know what I’m not,” she sings. Even more tellingly, I Don’t Search, I Find puts a full stop on popstar neediness. “Finally, enough love,” she sings. The whole Madame X conceit – an international woman of mystery – dissipates quickly as this unexpectedly engrossing album goes on. Madame Xis certainly a fluid album, but one tempered by Madonna’s solid confidence in her own aesthetic decisions. https://www.theguardian.com/music/2019/jun/08/madonna-madame-x-review-splendidly-bizarre-return-to-form THANKS TO THIS, THE SCORE ON METACRITIC IT'S NOW 79

this guy has another IG account and he posted the snippets of 3 songs so i reported himm

https://www.instagram.com/respect_store/ i think this is the chilenan store that is selling the album

THE SUN: GUIDE TRACK BY TRACK by Dan Wootton BOLD experimentation, controversial political comment and downright epic pop. That’s why Madonna’s highly anticipated new album marks yet another phase of her groundbreaking chart career. For the creator of some of the biggest pop choruses in history to throw caution to the wind and create some of her most daring music ever, at the age of 60, is a welcome reminder of why Madonna has remained at the cutting edge of music for four decades. It’s further proof that none of her young rivals are coming anywhere close to making pop music this exciting and boundary-pushing. Here’s my track by track rundown of what you can expect from Madame X, a global trip of an album, out next Friday. MEDELLIN: From track one, it’s clear Madonna’s new home on the Iberian peninsula has provided the inspiration for the Spanish sound that runs through the album. The chemistry with Colombian rapper Maluma is sizzling. Slow down papi, indeed. DARK BALLET: One of Madonna’s most experimental and thrilling tracks, this is the album’s mission statement as she sings: “I can dress like a boy, I can dress like a girl. Cos your world’s obsessed with fame, cos your world’s in so much pain, cos your world’s in flames.” The intro is reminiscent of the title-track of American Life, which makes sense as Madame X is her first major collaboration on a studio album with French producer Mirwais since their divisive 2003 record. But beyond the intro of the Joan Of Arc-inspired song, things really get creative, as a sparse piano is introduced and the track slowly reveals itself to be an exhilarating multi-genre experience. Imagine Madonna making a 2019 version of Bohemian Rhapsody. Between edgy beats and random sounds, we’re treated to the kind of heavy breathing, blowing and airy gasps not heard since Erotica, although rather than sounding orgasmic, here we’re entering a desolate, altogether more disturbing territory. Key lyric: “People tell me to shut your mouth – keep your beautiful lies because I’m not concerned.” GOD CONTROL: A strong one-two punch of edgy Madonna tracks. Long rumoured, Madonna takes on the issue of gun control in the US with this heady six-minute plus track where powerful lyrics and gun shots run under a swirly electric beat that becomes euphoric. There’s a Vogue-style rap for good measure too. Key lyric: “People think that I’m insane, insane people think I’m mad.” FUTURE: Performed at Eurovision with the rapper Quavo, the reggae-infused track is a message of hope following the bleak God Control. It’s a Sunday afternoon in the park vibe, very of the moment. BATUKA: This features Portuguese instruments and Madonna recorded it with locals. The powerful chanting chorus became a family affair with her daughters contributing some vocals. And I’m told son David Banda is even credited as one of the writers. The song feels like the beginning of a revolution. Queen Madonna is rallying her troops, ready for battle. It’s empowering and – helpfully – feels like you can actually dance to it. KILLERS WHO ARE PARTYING: Here Madonna invokes many minority groups – full list: gay, African, poor, children, Islamic, Israeli, Native American – and a woman, in one of the more controversial moments on the album. Key lyric: “I’ll be a woman if she’s raped and her heart is breaking.” CRAVE: Already released, this sweet grower of a song sees Madonna layer her vocals to great effect as she sings of the risk of her cravings, presumably romantic or sexual, “getting dangerous”. The closest we get to a Madonna love song on the album. CRAZY: My highlight track, this is a soaring, stripped-back pop masterpiece. The chorus is musically joyous but the lyrics are full of the pain of being let down by a lover or family member. It’s the “last time I wake up for you”, she insists. Her Eighties prowess is still in full effect when she wishes to access it. Key lyric: “If you think I’ve been foolish then I’ll only let you fool me once, so baby shame on you.” COME ALIVE: Another moment of spectacular pop, smack bang in the middle of the album. The ethereal song has no traditional chorus, but great use of Auto-Tune and a fabulous choir. EXTREME OCCIDENT: Middle Eastern beats power another experimental moment where Madonna examines her place in the world and decides “life is a circle”. She remains defiant, with the ongoing theme being her unwillingness to bend to the way society tries to mould her: “I don’t want to blend in, why do you want me to?” This has been an ongoing thread throughout Madonna’s career. When will her detractors get the message? Key lyric: “I guess I’m lost, I paid a handsome cost.” FAZ GOSTOSO: Most out and out fun moment on the album – a Latin celebration of how to move your body and party. The street party vibe near the end of the track is total euphoria. BITCH I’M LOCO: Maluma returns for the naughtiest track on the album, where Madonna sexes it up once more. The highlight is the two of them speaking with each other flirtatiously towards the end. When he asks her, “Where do you want me to put this?” she replies: “Oh you can put it inside.” Ooh la la! I DON’T SEARCH I FIND: Harking back to her Ray Of Light and Confessions era, Madonna pushes her vocals over a stomping club beat. She appears to pay tribute to her own career with various self-referential moments, including the famous clicks from Vogue and an Erotica-esque spoken-word section. LOOKING FOR MERCY: My second favourite moment on the album, this is Madonna at her most vulnerable as she appears to open up about her personal life in more detail, singing, “I’m looking for love”. Key lyric: “Somebody teach me to love, somebody help me to rise above.” I RISE: The perfect sunset to a very vibrant album. Powerful, haunting and lyrically one of the most consistently strong on Madame X. After spending the album telling everyone not to criticise her, or tell her what to do, it’s smart to end the record by saying: “I rise up above it all.” So whatever you say has little consequence anyway. Madonna will still continue to be Madonna. And judging by Madame X . . . thank God for that. https://www.thesun.co.uk/tvandshowbiz/9247453/madonna-madame-x-track-guide/

this. I really love how this song sounds (maybe is one of the bonus tracks)