Simo9jo Posted March 2, 2015 Share Posted March 2, 2015 It's nice that it's positive, but most of the review is spent talking about nonsense instead of the music. Reviews are really poorly written, it should be embarrassing to the people writing them or at least to whatever publications they write for. I use the word "write" loosely. They should really get their facts straight too. Link to comment Share on other sites More sharing options...
loowee Posted March 2, 2015 Share Posted March 2, 2015 It's nice that it's positive, but most of the review is spent talking about nonsense instead of the music. Reviews are really poorly written, it should be embarrassing to the people writing them or at least to whatever publications they write for. I use the word "write" loosely. They should really get their facts straight too. x2. And the way most of them are writing in first person seems so juvenile. "I think...blah blah blah" "She used to shock ME blah blah blah" "MY personal interest in Madonna blah blah blah" It has become reviews of THEIR OWN expectations and advice instead of the music itself. very unprofessional. Link to comment Share on other sites More sharing options...
rocknrolla Posted March 2, 2015 Share Posted March 2, 2015 I think the last two reviews were at least well written, objective, and thoroughly explained what they liked/disliked. Link to comment Share on other sites More sharing options...
loowee Posted March 2, 2015 Share Posted March 2, 2015 Pitchfork Interview (as usual they shaded M before the interview even started) : http://pitchfork.com/features/interviews/9604-pop-sovereign-a-conversation-with-madonna/?utm_source=facebook&utm_medium=interview&utm_campaign=features Pitchfork: I was really surprised by this new record. To be honest, I was also kind of relieved… M: That you didn’t hate it? [laughs] Pitchfork: Yes, actually. I mean, you never know… M: Totally. That’s to be expected. Even M is aware of their fuckery Link to comment Share on other sites More sharing options...
tombigbee Posted March 2, 2015 Share Posted March 2, 2015 I do follow Pitchfork and they're indeed my main source for discovering new music but the way they treat most pop music is baffling. Still, in the midst of that they're pretty solid in my book, regardless of their upcoming grade for Rebel Heart. We all know it's not going to be above 70... Link to comment Share on other sites More sharing options...
Phineaspoe Posted March 2, 2015 Share Posted March 2, 2015 Pitchfork Interview (as usual they shaded M before the interview even started) : http://pitchfork.com/features/interviews/9604-pop-sovereign-a-conversation-with-madonna/?utm_source=facebook&utm_medium=interview&utm_campaign=features They have to - it's how they show they're still cool. Regardless, an interview on Pitchfork is huge. Not sure if she's ever done one. And hopefully this means the person reviewing the album has a greater understanding of what she was trying to do. So, the chances of a good review are higher. Link to comment Share on other sites More sharing options...
mnino Posted March 2, 2015 Share Posted March 2, 2015 So, this is what Pretty Much Amazing has to say At its best, Rebel Heart has an ease, and a long absent softness, qualities sorely missed since her last masterwork Music. For every godawful moment, which come and go with a sad frequency on Rebel Heart, there are glimmers of virtuosity buried within the overworked mess. Or, to be more accurate, when taken in full (i.e., the 25 tracks found on the bloated “SuperDeluxe” edition) a solid comeback album is left behind after Madonna has chucked her disparate ideas and collaborations, willy nilly, at the wall. If she can no longer perform the role of a canny and thoughtful curator — once her greatest talent, now absent — the listener can, at least, excavate something to remember. The album needs a scalpel’s touch. I’ll take the first stab. My edit of Rebel Heart would open with the tender piano chords of “Wash All Over Me.” It’s a song filled with rolling drums, ethereal vocal overdubs, and some much needed self-doubt, and on the standard edition, it’s the album closer. Then I’d bring in “Rebel Heart,” the excellent title track that somehow isn’t even included in the standard edition, with its powerful declaration, “Hell yeah, this is me/ right where I’m supposed to be.” Next I’d place two real highlights: first, “Ghosttown,” a phenomenal post-apocalyptic love song, followed immediately by “Living for Love,” Madonna’s best single since “Hung Up.” The mid-tempo “Inside Out,” with its string-and-beat cool, would come next, a transition to Madonna in full ballad glory. The acoustic beauty of “Joan of Arc” and the naked honesty of “HeartBreakCity” give way to the equally soft, if goofy, “Body Shop.” No Madonna record would be complete without religious imagery. “Messiah” (also missing from the standard edition) and “Devil Pray” both capably check that box. And finally, we conclude with two worthy “SuperDeluxe” cuts: “Beautiful Scars,” a disco-lite throwback, and “Graffiti Heart,” a galloping love letter to creativity. And there it is: twelve tracks, 47 minutes. This would stand as a solid B+ Madonna LP, fitting snugly alongside her finest works. But this album doesn’t exist. If only someone had been there to say, “No, Madonna, bad idea,” to excise the dreck. Why, for example, are “Unapologetic Bitch,” “Illuminati,” and “Bitch, I’m Madonna” included on any iteration of Rebel Heart? Alas, they’re on the standard edition, and are, thus, canonical. That vile trio should promptly be marched into Mordor and tossed into the mouth of Mount Doom. Some not-so-terrific cuts have their own appeal, even if it isn’t musical: from a psychological standpoint, at least, “Iconic” and “Veni Vidi Vici” are fun, if desperate, clouds of narcissistic puffery. “Holy Water” and “S.E.X.” provide gasoline for Madonna’s ageist haters, but there’s something for everyone, or no one, here. On “Holy Water” we have to hear her sing, “Yeezus loves my pussy best” – like hearing your parents having sex, it’s embarrassing, gross, and all too hard to forget. I uncovered an intensely personal, hugely enjoyable, and lovingly executed album from the wreckage of Rebel Heart’s too many versions and too many tracks. But that’s not my job. On the album’s title track, Madonna sings “Oh no, I want more/ That’s not what I’m looking for.” If only she’d given us less. That’s what I’m looking for. C+ This person picked pretty much all of my faves but forgot to include Iconic and BIM. I get their point... but to score the album like this? Oh, well. I will make my own version of it too. Link to comment Share on other sites More sharing options...
Donuts Posted March 2, 2015 Share Posted March 2, 2015 Hate to say it but I agree with the PrettyMuchAmazing review,less would have been more,keep the strong amazing tracks and leave out the fillers for a more cohesive album as a whole...but I'm not complaining Link to comment Share on other sites More sharing options...
Django Posted March 2, 2015 Share Posted March 2, 2015 Hate to say it but I agree with the PrettyMuchAmazing review,less would have been more,keep the strong amazing tracks and leave out the fillers for a more cohesive album as a whole...but I'm not complaining there's no fillers in RH BYE. Link to comment Share on other sites More sharing options...
runa Posted March 2, 2015 Share Posted March 2, 2015 Hate to say it but I agree with the PrettyMuchAmazing review,less would have been more,keep the strong amazing tracks and leave out the fillers for a more cohesive album as a whole...but I'm not complaining Hate to say it but I agree with me, your nick name is so dumb, I can't take it... but I'm not complaining. Link to comment Share on other sites More sharing options...
MerGirl Posted March 2, 2015 Share Posted March 2, 2015 Pitchfork Interview (as usual they shaded M before the interview even started) : http://pitchfork.com/features/interviews/9604-pop-sovereign-a-conversation-with-madonna/?utm_source=facebook&utm_medium=interview&utm_campaign=features Pitchfork: I was really surprised by this new record. To be honest, I was also kind of relieved… M: That you didn’t hate it? [laughs] Pitchfork: Yes, actually. I mean, you never know… M: Totally. That’s to be expected. Even M is aware of their fuckery Meh. I don't think that was too bad. At least the interviewer had the guts to say it to her face. Link to comment Share on other sites More sharing options...
Nikki Posted March 2, 2015 Share Posted March 2, 2015 wow I have never read a positive review from drowned in sound before, so that's amazing Link to comment Share on other sites More sharing options...
Guest Posted March 2, 2015 Share Posted March 2, 2015 Hate to say it but I agree with me, your nick name is so dumb, I can't take it... but I'm not complaining. Link to comment Share on other sites More sharing options...
Donuts Posted March 2, 2015 Share Posted March 2, 2015 your nick name is so dumb, I can't take it... I love you Link to comment Share on other sites More sharing options...
runa Posted March 2, 2015 Share Posted March 2, 2015 I love you love you too ! Link to comment Share on other sites More sharing options...
mnino Posted March 2, 2015 Share Posted March 2, 2015 Awwww... Link to comment Share on other sites More sharing options...
runa Posted March 2, 2015 Share Posted March 2, 2015 Link to comment Share on other sites More sharing options...
Nikki Posted March 2, 2015 Share Posted March 2, 2015 another 4 stars but i don't know if they count Meteoritic Track-by-track review: Rebel Heart - Madonna Saeed Saeed March 2, 2015 Updated: March 2, 2015 03:39 PM Track-by-track review of U2’s Songs of Innocence MDNA audience bears witness to Madonna's inner turmoil Track-by-track review of Madonna's MDNA The agony and the ecstasy of Madonna's MDNA Topics: Musicians Music reviews Rebel Heart Madonna (Live Nation) Four Stars When it comes to Madonna, you just never know. The line between inspiration and cold calculation is blurred and her every move is studied and heavily discussed. Was her stumble at last week’s Brit Awards a genuine blunder? Or an ingenious way to promote her 13th studio album Rebel Heart, with its theme of vulnerability? Fortunately, in the final analysis, the music wins. Rebel Heart is a fine collection of sturdy pop tunes in which Madonna finally allows herself to look back and sometimes pilfer from her peak periods of the late 80s and early 2000s. Aside from a couple of clunkers, there is plenty for Madonna’s hard-core fan base, the casual listener and aspiring producers to enjoy here. Living For Love A great start. Rebel Heart kicks off with the first of many of Madonna’s self-referential musical moments. The ascending 90s-house keyboards and empowering lyrics recall the likes of Ray of Light and, to a certain extent, Vogue. Diplo, in the first of his several production contributions, anchors it in the present with a sweaty dance breakdown full of squelchy keyboards and deep bass drums. Devil Pray Madge enlists the seemingly specialised country-dance services of Swedish producer Avicii for this survivor’s tale. Thankfully this is nothing like her woeful 2003 cover of Don MacLean’s American Pie, but there is heavy reference to The Animals’ 1964 classic House of the Rising Sun. Ghosttown The biggest setback on Madonna’s previous album, MDNA, was its heavy-handed approach to innovation. In contrast, Ghosttown is a gorgeous yet streamlined power ballad with a huge, winning chorus. Sure, this could have easily been sung by Katy Perry or Rihanna, but Madonna, fortunately, trusts her pop instincts with this one. Unapologetic B***h Where Madonna genuinely grieved on her last two albums over the end of her marriage to the British film director Guy Ritchie, her latest ex, Brahim Zaibat, doesn’t receive that courtesy on Rebel Heart. Over a peppy reggae track, Madonna gives him a smackdown. Producer Diplo channels his former work with the mercurial Sri Lankan artist and former Madonna collaborator M.I.A. by adding a smattering of air horns and military drum beats. Illuminati When the demo version of the track was released this year, it rang alarm bells. While Madonna’s voice has never been her strongest asset, she was paired with some staid dance synths and cheesy acoustic guitars. Thankfully, Kanye West rescued it by throwing out the lameness and added the dark and claustrophobic sounds of his seminal 2013 album Yeezus. B***h, I’m Madonna (featuring Nicki Minaj) Another production triumph that is nearly derailed by some awful, ego-swelling lyrics. Diplo and the British beat-maker Sophie conjure up a deliciously slithering beat that is a bona fide dance-floor filler. Minaj also rises to the task and delivers another blisteringly bonkers rap. Hold Tight Discussions of Rebel Heart being too long are legitimate. Hold Tight is the first of a few tracks that should have been cut. Its atmospheric keyboards are sleep-inducing, with Madonna mumbling something about holding on and being strong. Joan of Arc A Madonna track harping on about the unforgiving media was always going to sound a bit rich. The anaemic production here doesn’t help as she laments: “Each time they write a hateful word/Dragging my soul into the dirt, I wanna die”. Yeah, I am sure Madonna’s verbal-bullying victim Lady Gaga would agree. Iconic (featuring Mike Tyson and Chance The Rapper) Rebel Heart’s mini slump is arrested: anyone thinking the former heavyweight boxing champion Tyson has embarked on a music career will be disappointed – his contribution is merely a sample proclaiming his greatness over loud applause, before the beat drops on this motivational dance anthem. HeartBreakCity Long before Lana Del Ray, Madonna was demonstrating the underrated power of emotional detachment. In this pensive, piano-led ballad, Madonna refuses to collapse in a teary mess, yet acknowledges she is emotionally in the weeds. Body Shop There is a hodgepodge of sounds here, with warm synths, plucked banjos and hollow drums as Madge metaphorically riffs on the open roads and repairing her heart. It’s uninspiring but probably a great commercial jingle if you can afford it. Holy Water Another throwback and the most scandalous Madonna track this decade. The brooding bass-filled verse gives way to a poptastic chorus that uses hedonistic sound effects harking back to her 1990 Justify My Love. It is safe to say the lyrical content deserves the parental advisory sticker. Inside Out A sonically desolate track as Madonna’s reverb-drenched vocals float over some stalking synths supplied by producer Mike Dean. The chilliness here suits the lyrics as Madge demands her lover be emotionally bare: “Every scar that you try to hide/ All the dark corners of your mind/ Show me yours, and I’ll show you mine”. Wash All Over Me The regal final track (of the standard version) is another addition to Madonna’s underrated collection of ballads. This century has been unkind to Madonna, who has had her share of heartbreak. Over a baroque piano, she surveys her present condition but vows to keep on moving: “Gonna watch the sun going down/I’m not gonna run from all this sadness”. Link to comment Share on other sites More sharing options...
thelament Posted March 2, 2015 Share Posted March 2, 2015 Hold Tight Discussions of Rebel Heart being too long are legitimate. Hold Tight is the first of a few tracks that should have been cut. Its atmospheric keyboards are sleep-inducing, with Madonna mumbling something about holding on and being strong. how about no Link to comment Share on other sites More sharing options...
Rebel Heartbreaker Posted March 2, 2015 Share Posted March 2, 2015 That Drowned In Sound review is fair. I like concise albums and RH overstays its welcome...but only just. There is enough brilliance on it to outshine the negatives. Link to comment Share on other sites More sharing options...
loowee Posted March 3, 2015 Share Posted March 3, 2015 I always consider RH a 14 track album and it flows perfectly. Link to comment Share on other sites More sharing options...
rocknrolla Posted March 3, 2015 Share Posted March 3, 2015 No way, too many good tracks would be left off Link to comment Share on other sites More sharing options...
Coadf Posted March 3, 2015 Share Posted March 3, 2015 M should get her dildo out and treat some always complaining fans like they deserve for their taste. Link to comment Share on other sites More sharing options...
Arnian Posted March 3, 2015 Share Posted March 3, 2015 Most likely the criticisms of there being too many tracks will fade away over time. This record is too exceptional for it not to hold a special place in her catalog. Link to comment Share on other sites More sharing options...
loowee Posted March 3, 2015 Share Posted March 3, 2015 No way, too many good tracks would be left off Well that's for sure but it's not like the tracks won't count just because they're bonus tracks. I just consider Wash All Over Me the end of the album flow and everything else is just an encore. Link to comment Share on other sites More sharing options...
mtsanis Posted March 3, 2015 Share Posted March 3, 2015 should've kept it at 14 (or even 13 if you ask me). and then kept us all worked up for months by releasing EP singles with 3-4 bonus tracks every couple of months. the whole campaign could've lasted a year at that rate. she could've even debuted some of them on tour. Link to comment Share on other sites More sharing options...
Shane Posted March 3, 2015 Share Posted March 3, 2015 I've never understood people having a problem with long albums ... if the songs are good, of course. Why would anyone ever complain about that? Maybe it's being a fan of Tori Amos that has trained me. She's had four very long albums; two seem overly long, but two are just flawless. I've dreamed of a long album from Madonna, and I can't wait to hear this. I have a feeling I'm going to be thankful for the length. I've never really disliked any of her songs with the exception of Did You Do It, so this is just a win win situation for me. Link to comment Share on other sites More sharing options...
Starman Posted March 3, 2015 Share Posted March 3, 2015 This is a difficult album to review No one is gonna love all 20 songs, neither we hardcore fans do , she knows about that ,she wanted to give us most of the material she recorded, which is perfect the real tracks would be the ones performed on tour Link to comment Share on other sites More sharing options...
Shane Posted March 3, 2015 Share Posted March 3, 2015 Because I'm going crazy waiting for this album, I've come up with this list of how the critics seem to perceive the RH songs thus far. Feel free to correct/edit me. LFL, GT, JOA, HC, BS, IO, WAOM, Messiah, RH (universally praised, or at least no real negative comments) DP, UB, Iconic, VVV: divided, but leaning toward praise Illuminati, BIM, HW: divided, but leaning toward negative S.E.X.: totally dragged Hold Tight, Best Night: basically unmentioned Link to comment Share on other sites More sharing options...
Chimera Posted March 3, 2015 Share Posted March 3, 2015 Some critics need to get that pole out of their hateful asses. I tend to sense a lot of subjectivity towards Madonna and a few remain objective. Giving a semi good review and rate it 50/100 it's just no no. Link to comment Share on other sites More sharing options...
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