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22 minutes ago, boy skeffington said:

https://chicago.suntimes.com/entertainment-and-culture/2019/6/14/18679440/madonna-madame-x-album-review-trying-too-hard-mess

Meh. Not posting the text. White man reviewing....

Ok...this sentence...Madonna here is sticking with the same gimmick that made her a mega-star: borrow cool stuff from others — voguing, Marlene Dietrich, Latin music, EDM — and adopt it as her own. 

Anger inducing. As if she's never ever ever ever done anything original in her life and she's a mega star because she steals. 

You mean, liberal woke SJW white man reviewing it

 

Again liberals eat their own, they don't stick by each other

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15 minutes ago, TXIII said:

Chicago sun times doesn’t count or are they considered the tribune? 

 

12 minutes ago, HolidayGuy said:

^Yep, I just checked- same writer and review. For sure it shouldn't count twice.

And, nope, neither count (easy to be tricked if you look at the Movies list of publications lol)

Yes those are all the same, luckily it doesn't count it's the worst one yet

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They have to stick with the narrative they created about Madonna or their world will crumble and their beliefs shaken. 

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1 hour ago, boy skeffington said:

https://www.breatheheavy.com/madonna-madame-x-review/

MADONNA IS MANY THINGS ON NEW HER ALBUM, BUT MOST IMPORTANTLY… SHE’S ‘MADAME X’ (REVIEW)

(can't get it to paste)

 

 

MADON

      

    

      

   

         

RX-AD.jpg

 

          


NA IS MADONNA IS MANY THINGS ON NEW HER ALBUM, BUT MOST IMPORTANTLY… SHE’S ‘MADAME X’ (REVIEW)MANY THINGS ON NEW HER ALBUM, BUT MOST IMPORTANTLY… SHE’S ‘MADAME X’ (REVIEW)

 

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27 minutes ago, sotos8 said:

Americans are known to be pretty stupid , i'm sorry but Americans are incredibly stupid 

I agree and the only reviews i kinda respect are the british ones. 

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3 minutes ago, SheldonCooper said:

I agree and the only reviews i kinda respect are the british ones. 

@sotos8Americans are known to be pretty stupid , i'm sorry but Americans are incredibly stupid 

Okay, now you guys are getting a little bit ridiculous.

Europe just basically immolated Madonna for Eurovision with their vicious press, particularly the UK. Those chat shows were appalling.

DOES IT MAKE EUROPEANS STUPID? NO? Then shut the fuck up. Let's not go there in this thread. 

Edited by Ai Papi Si.
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1 minute ago, Ai Papi Si. said:

Okay, now you guys are getting a little bit ridiculous.

Europe just basically immolated Madonna for Eurovision with their vicious press, particularly the UK. Those chat shows were appalling.

DOES IT MAKE EUROPEANS STUPID? NO? Then shut the fuck up. Let's not go there in this thread. 

True. I forgot about that. 

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2 minutes ago, Ai Papi Si. said:

Okay, now you guys are getting a little bit ridiculous.

Europe just basically immolated Madonna for Eurovision with their vicious press, particularly the UK. Those chat shows were appalling.

DOES IT MAKE EUROPEANS STUPID? NO? Then shut the fuck up. Let's not go there in this thread. 

Exactly.  Thank you.  Madonna is American too so you're also calling her stupid.  And calling a  WHOLE country full of diverse people stupid because they happen to be American is the same thing as calling an ENTIRE race stupid or gay people etc.

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Ok ,let's rephrase ,I'm sorry .A lot of Americans are stupid ,that's the reason they can't appreciate  M as their most important female artist . Too bad ..they can stick with gaga ,swift etc .. 

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For what it's worth, the LA Times review (the compare and contrast one) has been added to Metacritic with a 50/100 score 🤐, for a total average of 72 points. 

 

Most importantly, my review (the only one that counts for me) is 90/100 🤩

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We need a couple more 4/5, 80% reviews for her metacritic to bounce back up. Anything over a 75/100 i'd be happy with at this point 😞

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1 minute ago, yououghttavogue said:

We need a couple more 4/5, 80% reviews for her metacritic to bounce back up. Anything over a 75/100 i'd be happy with at this point 😞

We are lucky if she reaches 75 again

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I think it'll remain in the 70-75 range (sometimes I can't believe I care about this stupid website, but I do like reading analysis of her work, frustrating as it may be). Pitchfork... let's just say I know how the incels on that website think, and they're probably going to fuck her up for this album because of 1-2 songs that give them plenty of ammunition (Killers, Loca). That's just how they are, and I've accepted that they're always going to put in work to make her look like shit. That's just their MO with women like Madonna. It's ok, it's their karma lol

At any rate, I can't see how anyone can listen to Madame X and score it lower than Rebel Pork, but what do I know, I'm just a 30 something year old faggot I guess :lol:

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1 hour ago, boy skeffington said:

https://chicago.suntimes.com/entertainment-and-culture/2019/6/14/18679440/madonna-madame-x-album-review-trying-too-hard-mess

Meh. Not posting the text. White man reviewing....

Ok...this sentence...Madonna here is sticking with the same gimmick that made her a mega-star: borrow cool stuff from others — voguing, Marlene Dietrich, Latin music, EDM — and adopt it as her own. 

Anger inducing. As if she's never ever ever ever done anything original in her life and she's a mega star because she steals. 

Oh, wow. This absolutely disgusting! What the fuck? I'm raging! So much ignorance in a single sentence.

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55 minutes ago, Ai Papi Si. said:

Okay, now you guys are getting a little bit ridiculous.

Europe just basically immolated Madonna for Eurovision with their vicious press, particularly the UK. Those chat shows were appalling.

DOES IT MAKE EUROPEANS STUPID? NO? Then shut the fuck up. Let's not go there in this thread. 

No offense, but Madonna branded Americans to be less intelligent than Europeans back in 2003

 

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2 minutes ago, Kilt said:

No offense, but Madonna branded Americans to be less intelligent than Europeans back in 2003

 

lol and what? Madonna is the arbiter of who is dumb and who isn't? 

Look, the only reason I told ppl to put a sock in it is cuz this crap is for the politics thread. We get it, America elected Donald (never mind the fact that he only got elected on a technicality and Clinton got 3 million more votes than him but ANYWAY), but it's so laughable when ppl from Europe use bad reviews from the USA to say we're all stupid over here.

Lest we forget the way German press totally gutted Madonna just a few weeks ago, or the fact that you guys sent that disgusting fat fuck Piers Morgan over here to terrorize us with his vicious Madonna hate. The UK press used Madonna's exodus from London after the Guy divorce to decide that they hated her all over again. Are you guys dumb too? Of course not. It's stupid. 

Not talking about this anymore lol. Let's get back on topic 

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35 minutes ago, Ai Papi Si. said:

I think it'll remain in the 70-75 range (sometimes I can't believe I care about this stupid website, but I do like reading analysis of her work, frustrating as it may be). Pitchfork... let's just say I know how the incels on that website think, and they're probably going to fuck her up for this album because of 1-2 songs that give them plenty of ammunition (Killers, Loca). That's just how they are, and I've accepted that they're always going to put in work to make her look like shit. That's just their MO with women like Madonna. It's ok, it's their karma lol

At any rate, I can't see how anyone can listen to Madame X and score it lower than Rebel Pork, but what do I know, I'm just a 30 something year old faggot I guess :lol:

pitchfork gave rebel heart a 5/10 and that was when she gave them a big exclusive interview. imagine what they'll do this time. they've never liked her. 

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That last reviewer (Chicago Times/AP) obviously has a beef with Madonna as a person, and is projecting that unto his opinion about her album.   It's so transparent, but nothing new.   

And any review that states MX is trying to be trendy makes me wonder if the writer: 

 a. knows anything about music and what's trendy 

b. even heard the full album before writing their review. 

 

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Just now, bardo said:

pitchfork gave rebel heart a 5/10 and that was when she gave them a big exclusive interview. imagine what they'll do this time. they've never liked her. 

And you know, it should not matter whether or not Madonna gives them an interview or not, they should review music on the merits. But there's a very common thread with them. Just look at the way they stood out when they reviewed Confessions. They can't seem to know what to make of her, so they just slap on a mediocre score and give us a whole bunch of verbose crap to chew on that NEVER makes any sense.

They're incels, I am telling you lol

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4 minutes ago, Ai Papi Si. said:

And you know, it should not matter whether or not Madonna gives them an interview or not, they should review music on the merits. But there's a very common thread with them. Just look at the way they stood out when they reviewed Confessions. They can't seem to know what to make of her, so they just slap on a mediocre score and give us a whole bunch of verbose crap to chew on that NEVER makes any sense.

They're incels, I am telling you lol

oh of course it shouldn't and it obviously didn't. but i don't know what idiot greenlit an interview with a publication that has shown nothing but utter contempt for her for years. 

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The Hollywood Reporter has published their review.

It is terrible, even one of their journalists distanced himself from it

I will paste it here. Don't give them clicks. If you have Twitter account, you can call them out.

Luckily, it doesn't count.

PS. The last sentence is hilarious. 😂

 

Madonna is back with a true head-scratcher in Madame X, her 14th album, rounding out her fourth decade as a pop star. Musically, it’s a mess and represents her trying to meld the sounds of Lisbon, Portugal, her home the past several years, with influences as far-flung as Latin, trap, disco and seemingly any other cultural trinket she picked up at World Market. It also features some of the stupidest lyrics you’re likely to hear this year.

The net experience is like hanging out with your aunt who’s trying to impress you by doing ecstasy, telling you about her sex life and pretending she’s woke. Basically: what no human wants to hear right now.

For anyone who remembers the period where Madge pretended to have a British accent and dabbled in Eastern mysticism, this is the logical extension of the cultural confusion that has defined this century for the sexagenarian pop star. Madonna has struggled the past decade — with identity politics, social media stunts (remember the rollout of Rebel Heart?) and simply making music that has any resonance with contemporary audiences.

The new record features a Ritalin-addled melange of vibes that often feel like Rihanna leftovers. We get the pop singer teaming up with young rappers like Quavo and Swae Lee, with pretty forgettable results. For production duties, she's enlisted a grab bag of producers, but even Mirwais, who helped keep her career going on Music and Confessions on a Dancefloor, can’t rekindle any of those albums’ sense of fun or poppy concision. And Diplo’s services behind the boards do little to move the needle — though his presence, as one of 21st century pop’s most recognized pilferers, feels apt.

Apparently, this is a concept album in which Madonna assumes the role of Madame X, whom she described to the Today show as "a spy.”

“She's a secret agent. She travels the world. She changes her identity. She sleeps with one eye open. And she travels through the day with one eye shut. She's actually been wounded. So she's covering up one of her eyes," the artist said.

There is definitely something The Spy Who Shagged Me-esque about this whole get-up (with a dash of Billy the Puppet doll from the Saw franchise). It's a persona that amounts to little and feels like a completely arbitrary, unnecessary reinvention.

As for the songs themselves, their titles give you a pretty good indication of what you’re in store for. In “Extreme Occident,” Madonna sings, “I went to the far right / Then I went to the far left / I tried to recover my center of gravity” and speaks to how she’s taken loosely from various Asian cultures. There's not an ounce of self-awareness.

And then there are tracks with names like “God Control,” which you know are going to be brutal. “God Control” goes from trap to bouncy disco to children’s choir spouting out the ridiculous chorus, “We lost God control.” It’s a six-plus-minute odyssey ending in a flitter of Madonna whispering, “wake up, wake up, wake up.”

On “Killers Who Are Partying,” she hits perhaps a career low as she sings, “I’ll be Africa if Africa is shot down / I will be poor if the poor are humiliated / I’ll be a child if the children are exploited / I know what I am / and I know what I’m not / I’ll be Israel if they’re incarcerated / I'll be Native Indian if the Indian has been taken.” What is she trying to say, exactly? In what way is Israel "incarcerated"? How can she be “Native Indian” or “Africa”? Is Africa being “shot down”? The sense of confused self-importance and entitlement are hard to shake off on an album riddled with moments like this.

There are a few hopeful bits sprinkled throughout, but they don’t last long. She does a decent Wendy Carlos impression on “Dark Ballet.” And when the bassline for “I Don’t Search I Find” drops, there’s a ray of light: It almost sounds like the Aphex Twin collaboration that never happened, and even though it’s a clear rip-off of “Vogue,” it’s the closest thing here you can actually imagine human beings dancing to. But then, during a breakdown, she regrettably sings: “It’s our gypsy blood / We live between life and death.” Guh.

Who is this album for? It feels like another piece of Madonna’s journey of cultural appropriation, tailored to satisfy her own fleeting interests above all. At 15 songs, and nearing an hour running time, it’s exhausting. Madonna’s voice has never been her strong suit, and here the vocals are drenched in Auto-Tune and other effects so that it barely registers as Madonna for most of the album.

Madame X is so brazen and confident that you almost have to admire it. Almost. If only it weren’t also so grueling, shaggy and oversaturated with cringe. But what does a new album for Madonna really need to accomplish besides providing the pretext for a tour and other branding contracts? She was a pioneer of the 360 deal, after all.

Why can’t Madonna get back together with Jellybean and record a freestyle album? Is that too much to ask?


 

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Just now, bardo said:

oh of course it shouldn't and it obviously didn't. but i don't know what idiot greenlit an interview with a publication that has shown nothing but utter contempt for her for years. 

They were probably acting in good faith, thinking that maybe they could get a fair shake.

I do think their Rebel Heart review was somewhat fair. Honestly, that particular review does not bother me too much, reading it back. But many years ago, I think they reviewed Tell You A Secret, and oh my god, the language they used was so fucking nasty and borderline abusive. I wonder if its still around. It was really gross. 

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3 minutes ago, side_streets said:

The Hollywood Reporter has published their review.

It is terrible, even one of their journalists distanced himself from it

I will paste it here. Don't give them clicks. If you have Twitter account, you can call them out.

Luckily, it doesn't count.

PS. The last sentence is hilarious. 😂

 

Madonna is back with a true head-scratcher in Madame X, her 14th album, rounding out her fourth decade as a pop star. Musically, it’s a mess and represents her trying to meld the sounds of Lisbon, Portugal, her home the past several years, with influences as far-flung as Latin, trap, disco and seemingly any other cultural trinket she picked up at World Market. It also features some of the stupidest lyrics you’re likely to hear this year.

The net experience is like hanging out with your aunt who’s trying to impress you by doing ecstasy, telling you about her sex life and pretending she’s woke. Basically: what no human wants to hear right now.

For anyone who remembers the period where Madge pretended to have a British accent and dabbled in Eastern mysticism, this is the logical extension of the cultural confusion that has defined this century for the sexagenarian pop star. Madonna has struggled the past decade — with identity politics, social media stunts (remember the rollout of Rebel Heart?) and simply making music that has any resonance with contemporary audiences.

The new record features a Ritalin-addled melange of vibes that often feel like Rihanna leftovers. We get the pop singer teaming up with young rappers like Quavo and Swae Lee, with pretty forgettable results. For production duties, she's enlisted a grab bag of producers, but even Mirwais, who helped keep her career going on Music and Confessions on a Dancefloor, can’t rekindle any of those albums’ sense of fun or poppy concision. And Diplo’s services behind the boards do little to move the needle — though his presence, as one of 21st century pop’s most recognized pilferers, feels apt.

Apparently, this is a concept album in which Madonna assumes the role of Madame X, whom she described to the Today show as "a spy.”

“She's a secret agent. She travels the world. She changes her identity. She sleeps with one eye open. And she travels through the day with one eye shut. She's actually been wounded. So she's covering up one of her eyes," the artist said.

There is definitely something The Spy Who Shagged Me-esque about this whole get-up (with a dash of Billy the Puppet doll from the Saw franchise). It's a persona that amounts to little and feels like a completely arbitrary, unnecessary reinvention.

As for the songs themselves, their titles give you a pretty good indication of what you’re in store for. In “Extreme Occident,” Madonna sings, “I went to the far right / Then I went to the far left / I tried to recover my center of gravity” and speaks to how she’s taken loosely from various Asian cultures. There's not an ounce of self-awareness.

And then there are tracks with names like “God Control,” which you know are going to be brutal. “God Control” goes from trap to bouncy disco to children’s choir spouting out the ridiculous chorus, “We lost God control.” It’s a six-plus-minute odyssey ending in a flitter of Madonna whispering, “wake up, wake up, wake up.”

On “Killers Who Are Partying,” she hits perhaps a career low as she sings, “I’ll be Africa if Africa is shot down / I will be poor if the poor are humiliated / I’ll be a child if the children are exploited / I know what I am / and I know what I’m not / I’ll be Israel if they’re incarcerated / I'll be Native Indian if the Indian has been taken.” What is she trying to say, exactly? In what way is Israel "incarcerated"? How can she be “Native Indian” or “Africa”? Is Africa being “shot down”? The sense of confused self-importance and entitlement are hard to shake off on an album riddled with moments like this.

There are a few hopeful bits sprinkled throughout, but they don’t last long. She does a decent Wendy Carlos impression on “Dark Ballet.” And when the bassline for “I Don’t Search I Find” drops, there’s a ray of light: It almost sounds like the Aphex Twin collaboration that never happened, and even though it’s a clear rip-off of “Vogue,” it’s the closest thing here you can actually imagine human beings dancing to. But then, during a breakdown, she regrettably sings: “It’s our gypsy blood / We live between life and death.” Guh.

Who is this album for? It feels like another piece of Madonna’s journey of cultural appropriation, tailored to satisfy her own fleeting interests above all. At 15 songs, and nearing an hour running time, it’s exhausting. Madonna’s voice has never been her strong suit, and here the vocals are drenched in Auto-Tune and other effects so that it barely registers as Madonna for most of the album.

Madame X is so brazen and confident that you almost have to admire it. Almost. If only it weren’t also so grueling, shaggy and oversaturated with cringe. But what does a new album for Madonna really need to accomplish besides providing the pretext for a tour and other branding contracts? She was a pioneer of the 360 deal, after all.

Why can’t Madonna get back together with Jellybean and record a freestyle album? Is that too much to ask?


 

sounds like it was written to impress a college professor or something. 

oh well, if we wanna stoop to the Stan war level, it doesn't count for Metacryptic so NA NA NA :lmao:

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