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MADAME X: official reviews are in: MADAME X is a hit with the critics!


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1 hour ago, smirnoff_ice said:

Madge album review

WITH just ten days to go until her first album in four years, Madame X, anticipation is mounting for Madonna’s return.

I’m no expert when it comes to the Queen Of Pop so I sent Bizarre’s pop supremo Howell Davies to take a first listen of the full record to see if it lives up to the hype . . .

 Madonna's will release her new album in ten days

SAY what you like about Madonna – she’s never boring.

In an industry which is quickly becoming devoid of personality, she has returned with her most diverse and out-there record ever.

Madame X sees Madge sing in Portuguese on a handful of the tracks including the upbeat Crazy and Bitch, I’m Loca, on which she teams up with Maluma again.

And she’s as cheeky as ever on the tune, which ends with her telling the Reggaeton star: “You can put it inside.”

Dark Ballet features a high-octane reimagining of the Dance Of The Sugar Plum Fairy while she addresses under-fire minority groups in Killers Who Are Partying.

I Don’t Search I Find harks back to the Nineties with an ambient trance beat, which is totally different from God Control and Come Alive, which feature vocals by Tiffin Children’s Choir, from South West London.

This collection could easily have felt like a clash of cultures gone too far, but there’s very little she can’t turn her hand to.

It’s ultra-contemporary, packed with variety and totally unlike anything she has done before.

Just like she did in 1998 with Ray Of Light, this is Madonna’s reinvention.

More at The Sun

Why they say danse of the suger plum fairy, the part from Dark Ballet is Danse des Mirlitons. You know classical music please. 

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1 hour ago, smirnoff_ice said:

Madge album review

WITH just ten days to go until her first album in four years, Madame X, anticipation is mounting for Madonna’s return.

I’m no expert when it comes to the Queen Of Pop so I sent Bizarre’s pop supremo Howell Davies to take a first listen of the full record to see if it lives up to the hype . . .

 Madonna's will release her new album in ten days

SAY what you like about Madonna – she’s never boring.

In an industry which is quickly becoming devoid of personality, she has returned with her most diverse and out-there record ever.

Madame X sees Madge sing in Portuguese on a handful of the tracks including the upbeat Crazy and Bitch, I’m Loca, on which she teams up with Maluma again.

And she’s as cheeky as ever on the tune, which ends with her telling the Reggaeton star: “You can put it inside.”

Dark Ballet features a high-octane reimagining of the Dance Of The Sugar Plum Fairy while she addresses under-fire minority groups in Killers Who Are Partying.

I Don’t Search I Find harks back to the Nineties with an ambient trance beat, which is totally different from God Control and Come Alive, which feature vocals by Tiffin Children’s Choir, from South West London.

This collection could easily have felt like a clash of cultures gone too far, but there’s very little she can’t turn her hand to.

It’s ultra-contemporary, packed with variety and totally unlike anything she has done before.

Just like she did in 1998 with Ray Of Light, this is Madonna’s reinvention.

More at The Sun

So good. Can't wait for June 14th.

I have said it many times, but this album will be another creative peak for M. I feel it. She is going to gives us EVERYTHING we want and more.

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49 minutes ago, Confessit said:

I think it's safe to say all the singles she has released/previewed pre album release won't be as good as the singles she releases post album. 

It feels like Medellin, Crave, Future, I Rise are not the albums strongest songs.

My view is that we got the most commercially sounding songs first to maximise the visibility and reach of the album across different markets and we will get the more innovative and experimental ones with the album -- which probably came down to a decision from Interscope and Maverick.

I love all 4 songs released so far, and I'm sure the quality will be the same and above what we got so far.

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The times UK has given it 4 stars but you have to pay to access the full article and I'm not. Sorry ha

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Why do people go on and on posting how useless and idiotic music reviewers are ... in the album REVIEWS thread? If it's so pointless, why bother posting in here? If the reviews were all 5 stars every one would be singing the praises of reviewers.

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15 minutes ago, Danmacevents said:

The times UK has given it 4 stars but you have to pay to access the full article and I'm not. Sorry ha

Madonna: Madame X review — probably her boldest album yet

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9 minutes ago, CzarnaWisnia said:

Why do people go on and on posting how useless and idiotic music reviewers are ... in the album REVIEWS thread? If it's so pointless, why bother posting in here? If the reviews were all 5 stars every one would be singing the praises of reviewers.

Egg-zack-lee

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'Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.'

(can't read the rest either, I'll see if I can pick up the Times tomorrow- I'm sure it'll surface somewhere)

They can't not give a back handed compliment to her can they? :huh:

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Full reviews The Times (UK):

 

Madonna: Madame X review — probably her boldest album yet

Will Hodgkinson

June 4 2019, 12:01am, The Times

Rating: 4 Stars out of 5 Stars

Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.

Dark Ballet, recorded with the French producer Mirwais, throws all of these qualities into one three-part experimental epic. Over piano-led, minor-key pop, Madonna variously tells us that she can dress like a boy or a girl as she wishes, castigates the world for being obsessed with fame and concludes by saying that some unnamed people, at a guess Donald Trump and his team, are naive to think that we aren’t aware of their crimes. At one point she says something indecipherable in a half robot, half Disney princess voice. It is quite a trip.

Then there is Killers Who Are Partying, on which Madonna goes the full Bono as she identifies with Africa, poor people, exploited children and pretty much everyone else who isn’t a rich, old, golf-playing white man. “I’ll be poor, if the poor are humiliated,” she claims over a touch of Portuguese fado, and although you suspect that she isn’t really about to give up her life as the most successful female pop star yet and wander the Earth as a penniless ascetic, the sentiment is there. “I’ll be Islam if Islam is hated,” she continues. “I’ll be Israel if they’re incarcerated.” World peace through song may be a naive endeavour, as John Lennon found out five decades ago, but this flash of idealism at a time of rising global division is welcome nonetheless.

There are straightforward pop songs, such as the country-leaning Crave and the English/Portuguese Crazy, but the most captivating moments push the boat out. The Latin-tinged Batuka has a wayward quality reminiscent of Brazil’s late-1960s tropicalia movement and features the unequivocally Trump-bashing line “Get that old man and put him in jail”.

It wouldn’t be a Madonna album with a bit of overt sexuality and Faz Gostoso (“make it tasty”) pours the sauce over a samba rhythm, while on I Don’t Search I Find she reconnects with her core audience via the medium of high-energy, pumping house music. Finally comes I Rise, an empowerment anthem with a sample of the now-famous speech by the Parkland shooting survivor Emma González.

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Full Times review ... 

Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.

Dark Ballet, recorded with the French producer Mirwais, throws all of these qualities into one three-part experimental epic. Over piano-led, minor-key pop, Madonna variously tells us that she can dress like a boy or a girl as she wishes, castigates the world for being obsessed with fame and concludes by saying that some unnamed people, at a guess Donald Trump and his team, are naive to think that we aren’t aware of their crimes. At one point she says something indecipherable in a half robot, half Disney princess voice. It is quite a trip.

Then there is Killers Who Are Partying, on which Madonna goes the full Bono as she identifies with Africa, poor people, exploited children and pretty much everyone else who isn’t a rich, old, golf-playing white man. “I’ll be poor, if the poor are humiliated,” she claims over a touch of Portuguese fado, and although you suspect that she isn’t really about to give up her life as the most successful female pop star yet and wander the Earth as a penniless ascetic, the sentiment is there. “I’ll be Islam if Islam is hated,” she continues. “I’ll be Israel if they’re incarcerated.” World peace through song may be a naive endeavour, as John Lennon found out five decades ago, but this flash of idealism at a time of rising global division is welcome nonetheless.

There are straightforward pop songs, such as the country-leaning Crave and the English/Portuguese Crazy, but the most captivating moments push the boat out. The Latin-tinged Batuka has a wayward quality reminiscent of Brazil’s late-1960s tropicalia movement and features the unequivocally Trump-bashing line “Get that old man and put him in jail”.

It wouldn’t be a Madonna album with a bit of overt sexuality and Faz Gostoso (“make it tasty”) pours the sauce over a samba rhythm, while on I Don’t Search I Find she reconnects with her core audience via the medium of high-energy, pumping house music. Finally comes I Rise, an empowerment anthem with a sample of the now-famous speech by the Parkland shooting survivor Emma González.

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4 minutes ago, Bat-Fan said:

Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.

Dark Ballet, recorded with the French producer Mirwais, throws all of these qualities into one three-part experimental epic. Over piano-led, minor-key pop, Madonna variously tells us that she can dress like a boy or a girl as she wishes, castigates the world for being obsessed with fame and concludes by saying that some unnamed people, at a guess Donald Trump and his team, are naive to think that we aren’t aware of their crimes. At one point she says something indecipherable in a half robot, half Disney princess voice. It is quite a trip.

Then there is Killers Who Are Partying, on which Madonna goes the full Bono as she identifies with Africa, poor people, exploited children and pretty much everyone else who isn’t a rich, old, golf-playing white man. “I’ll be poor, if the poor are humiliated,” she claims over a touch of Portuguese fado, and although you suspect that she isn’t really about to give up her life as the most successful female pop star yet and wander the Earth as a penniless ascetic, the sentiment is there. “I’ll be Islam if Islam is hated,” she continues. “I’ll be Israel if they’re incarcerated.” World peace through song may be a naive endeavour, as John Lennon found out five decades ago, but this flash of idealism at a time of rising global division is welcome nonetheless.

There are straightforward pop songs, such as the country-leaning Crave and the English/Portuguese Crazy, but the most captivating moments push the boat out. The Latin-tinged Batuka has a wayward quality reminiscent of Brazil’s late-1960s tropicalia movement and features the unequivocally Trump-bashing line “Get that old man and put him in jail”.

It wouldn’t be a Madonna album with a bit of overt sexuality and Faz Gostoso (“make it tasty”) pours the sauce over a samba rhythm, while on I Don’t Search I Find she reconnects with her core audience via the medium of high-energy, pumping house music. Finally comes I Rise, an empowerment anthem with a sample of the now-famous speech by the Parkland shooting survivor Emma González.

So good! 

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5 minutes ago, Bat-Fan said:

Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.

Dark Ballet, recorded with the French producer Mirwais, throws all of these qualities into one three-part experimental epic. Over piano-led, minor-key pop, Madonna variously tells us that she can dress like a boy or a girl as she wishes, castigates the world for being obsessed with fame and concludes by saying that some unnamed people, at a guess Donald Trump and his team, are naive to think that we aren’t aware of their crimes. At one point she says something indecipherable in a half robot, half Disney princess voice. It is quite a trip.

Then there is Killers Who Are Partying, on which Madonna goes the full Bono as she identifies with Africa, poor people, exploited children and pretty much everyone else who isn’t a rich, old, golf-playing white man. “I’ll be poor, if the poor are humiliated,” she claims over a touch of Portuguese fado, and although you suspect that she isn’t really about to give up her life as the most successful female pop star yet and wander the Earth as a penniless ascetic, the sentiment is there. “I’ll be Islam if Islam is hated,” she continues. “I’ll be Israel if they’re incarcerated.” World peace through song may be a naive endeavour, as John Lennon found out five decades ago, but this flash of idealism at a time of rising global division is welcome nonetheless.

There are straightforward pop songs, such as the country-leaning Crave and the English/Portuguese Crazy, but the most captivating moments push the boat out. The Latin-tinged Batuka has a wayward quality reminiscent of Brazil’s late-1960s tropicalia movement and features the unequivocally Trump-bashing line “Get that old man and put him in jail”.

It wouldn’t be a Madonna album with a bit of overt sexuality and Faz Gostoso (“make it tasty”) pours the sauce over a samba rhythm, while on I Don’t Search I Find she reconnects with her core audience via the medium of high-energy, pumping house music. Finally comes I Rise, an empowerment anthem with a sample of the now-famous speech by the Parkland shooting survivor Emma González.

Finally an actual review!! Thanks for posting.

This sounds great!! If nothing else, this is shaping up to be a very brave and different album for her. Still pushing that envelope!!

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Super excited after this review, thanks for posting!  We are going to have it all: dance tunes, pop, ballads, and experimental!

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It's funny they criticize her singing, dancing and writing abilities but prop Gag with her electrocuted chicken, uncoordinated, caterwauling childish lyrics as some genius.

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Only Madonna would make what is being dubbed as her strangest or weirdest album over 35 years into her career!  I hope it’s true.  Most successful artists find a lane and stay there.  Not our girl.  So excited!  

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Now THAT is an album review! Backhanded compliments aside, this was a great review! 

We are almost there everyone!! :wow:

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We finally learned one thing about Come Alive!  That song apparently uses the choir as well according to that Bizarre review.

As for Batuka, does anyone know what late 60s Latin tropicalia sounds like?

So much intrigue!!!

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40 minutes ago, Bat-Fan said:

Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.

Dark Ballet, recorded with the French producer Mirwais, throws all of these qualities into one three-part experimental epic. Over piano-led, minor-key pop, Madonna variously tells us that she can dress like a boy or a girl as she wishes, castigates the world for being obsessed with fame and concludes by saying that some unnamed people, at a guess Donald Trump and his team, are naive to think that we aren’t aware of their crimes. At one point she says something indecipherable in a half robot, half Disney princess voice. It is quite a trip.

Then there is Killers Who Are Partying, on which Madonna goes the full Bono as she identifies with Africa, poor people, exploited children and pretty much everyone else who isn’t a rich, old, golf-playing white man. “I’ll be poor, if the poor are humiliated,” she claims over a touch of Portuguese fado, and although you suspect that she isn’t really about to give up her life as the most successful female pop star yet and wander the Earth as a penniless ascetic, the sentiment is there. “I’ll be Islam if Islam is hated,” she continues. “I’ll be Israel if they’re incarcerated.” World peace through song may be a naive endeavour, as John Lennon found out five decades ago, but this flash of idealism at a time of rising global division is welcome nonetheless.

There are straightforward pop songs, such as the country-leaning Crave and the English/Portuguese Crazy, but the most captivating moments push the boat out. The Latin-tinged Batuka has a wayward quality reminiscent of Brazil’s late-1960s tropicalia movement and features the unequivocally Trump-bashing line “Get that old man and put him in jail”.

It wouldn’t be a Madonna album with a bit of overt sexuality and Faz Gostoso (“make it tasty”) pours the sauce over a samba rhythm, while on I Don’t Search I Find she reconnects with her core audience via the medium of high-energy, pumping house music. Finally comes I Rise, an empowerment anthem with a sample of the now-famous speech by the Parkland shooting survivor Emma González.

This is brilliant. What a great overview of the album! 🤩 June 14th can't come soon enough.

Madame X will be a majestic work of art.

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49 minutes ago, Shane said:

We finally learned one thing about Come Alive!  That song apparently uses the choir as well according to that Bizarre review.

As for Batuka, does anyone know what late 60s Latin tropicalia sounds like?

So much intrigue!!!

I hope it sounds like this 

 

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1 hour ago, Shane said:

We finally learned one thing about Come Alive!  That song apparently uses the choir as well according to that Bizarre review.

As for Batuka, does anyone know what late 60s Latin tropicalia sounds like?

So much intrigue!!!

It was a musical moviment created late 60´s to criticized the military dictatorship

 

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Just now, Gabriel Ciccone said:

It was a musical moviment created late 60´s to criticized the military dictatorship

 

THANK YOU!

Was Cesaria Evora involved in this genre?  I have heard Madonna reference her work.

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1 minute ago, Gabriel Ciccone said:

No. Cesaria Evora is Cape Verdian

 

1 minute ago, Gabriel Ciccone said:

No. Cesaria Evora is Cape Verdian

Thank you.  

So if Madonna puts her unique stamp on this style above, Batuka could be an amazing track indeed.

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The Tropicalist movement brought a number of innovations to the Brazilian cultural scene in the late 1960s. The movement was, in a sense, a right of the obviously militant population, that the country's political situation was a year of dictatorship and had a melody as a great medium of communication.

The letters were invented, introducing games of language, approaching the poetry of concretists. The messages were coded, requiring a certain cultural baggage to be understood. Caetano Veloso's "Alegria, Alegria" doesn´t have an obvious meaning, but carries with it a stronger memory of the youth of the 60s, a torment with the violence of the dictatorship and a desire to innovate, to break barriers.

They were characterized by excess, colorful clothes, long hair and added various musical influences. The era was to shock, through performances characterized by aesthetic violence, to protest against well-behaved Brazilian music. Influenced by the counterculture, they took over the language of parody and debauchery. Tropicalists transformed Brazilian popular music, being great exponents of Brazilian avant-garde art.

Musically, tropicalism is a mixture of culture, psychological rock, erudite music, popular culture, among others, giving an account of various manifestations of national culture. The sound of the electric guitar coexisted with violins and with the berimbau. It was the rescue of the anthropophagic movement of Oswald de Andrade allied to the roots of the national traditions.

 

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43 minutes ago, Gabriel Ciccone said:

The Tropicalist movement brought a number of innovations to the Brazilian cultural scene in the late 1960s. The movement was, in a sense, a right of the obviously militant population, that the country's political situation was a year of dictatorship and had a melody as a great medium of communication.

The letters were invented, introducing games of language, approaching the poetry of concretists. The messages were coded, requiring a certain cultural baggage to be understood. Caetano Veloso's "Alegria, Alegria" doesn´t have an obvious meaning, but carries with it a stronger memory of the youth of the 60s, a torment with the violence of the dictatorship and a desire to innovate, to break barriers.

They were characterized by excess, colorful clothes, long hair and added various musical influences. The era was to shock, through performances characterized by aesthetic violence, to protest against well-behaved Brazilian music. Influenced by the counterculture, they took over the language of parody and debauchery. Tropicalists transformed Brazilian popular music, being great exponents of Brazilian avant-garde art.

Musically, tropicalism is a mixture of culture, psychological rock, erudite music, popular culture, among others, giving an account of various manifestations of national culture. The sound of the electric guitar coexisted with violins and with the berimbau. It was the rescue of the anthropophagic movement of Oswald de Andrade allied to the roots of the national traditions.

 

I was hoping Batuka was an upbeat song

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7 minutes ago, Bat-Fan said:

I was hoping Batuka was an upbeat song

There are already plenty of those from the sounds of it: God Control, Crazy, Faz Gostoso, Bitch I’m Loca, and I Don’t Search I Find.  

I am hoping Come Alive and Extreme Occident are ballads because I would like at least two.

I think Batuka and Dark Ballet will be in categories of their own.

The reviews are mentioning lyrics from Killers Who Are Partying, but nothing about the tempo or style.  So that could be upbeat also.

Looking For Mercy is the wild card.

 

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