Msig
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Posts posted by Msig
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On 10/7/2019 at 6:26 PM, Msig said:
The drums seem to be heavily inspired by James Brown's "Funky Drummer":
Seems to be a direct sample: ASCAP has added James Brown as a co-writer of "Funana".
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On 6/16/2019 at 12:58 PM, Crystal Coffin said:
But the drums, they are cool! 
On 6/16/2019 at 2:00 PM, Klasu said:I think this is a very catchy song, definitely a grower. I love how it sounds like an African tribal chant and builds up driven by a kind of primordial force. The drums are everything and it goes very well together with Future on the deluxe edition. This is not my type of music in general, so it’s a great example of how the queen is educating me.
The drums seem to be heavily inspired by James Brown's "Funky Drummer":
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KAN, the Israeli public broadcasting corporation, which produced the Eurovision Song Contest 2019, has sued Live Nation over Madonna's performance in the show, claiming that Live Nation violated the terms of their contract with KAN.
According to the court filing, KAN provided Madonna with technical and logistical support that went beyond the production of the Eurovision show, including projectors, headphones, tents, security, catering, extra staff etc.
According to Madonna's contract with KAN, Live Nation was supposed to cover those costs ($ 390,000), but it appears they never paid up.
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On 8/10/2019 at 7:43 PM, Gus said:
These are the new mixes:
I Rise (Thomas Gold Extended Club Mix)
I Rise (Thomas Gold Remix)
I Rise (Thomas Gold Radio)
I Rise (Thomas Gold Edit)
I Rise (Kue Drops The Funk Remix)
I Rise (DJLW Remix)
I Rise (Twisted Dee & Diego Fernandez Mix)
I Rise (Twisted Dee & Diego Fernandez Radio Mix)
These are the ones that will be commercially released on Friday, according to DrownedMadonna:
DJLW Remix (4:36)
Kue Drops The Funk Remix (5:56)
Offer Nissim Remix (6:56)
Thomas Gold Remix (3:17)
Daybreakers Remix (5:24)
DJ Irene & The Alliance Remix 3:50) -
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AllMusic Review by Stephen Thomas Erlewine
4/5
https://www.allmusic.com/album/madame-x-mw0003274282
Madame X is the rare album from a veteran artist that puts earlier records in a different light. Ever since the 1980s, the conventional wisdom about Madonna claimed she brought trends from the musical underground for the purpose of pop hits, but Madame X -- a defiantly dense album that has little to do with pop, at least in the standard American sense -- emphasizes the artistic instincts behind these moves. The shift in perception stems from Madonna embracing a world outside of the United States. While she's been an international superstar since the dawn of her career, Madonna relocated to Lisbon, Portugal in 2017, a move that occurred two years after Rebel Heart -- an ambitious record balanced between revivals of old styles and new sounds -- failed to burn up any Billboard chart outside of Dance singles. These two developments fuel Madame X, an album that treats America as a secondary concern at best. Madonna may address the political and social unrest that's swept across the globe during the latter years of the 2010s, but her commentary is purposely broad. Perhaps Madonna errs on the side of being a little bit too broad -- on "Killers Who Are Partying," she paints herself as a martyr for every oppressed voice in the world -- yet this instinct to look outside of her experience leads her to ground Madame X in various strains of Latinx sounds, trap, and art-pop, music that not only doesn't sound much like the American pop charts in 2019, but requires focused attention in a manner that makes the songs not especially friendly to playlisting.
Madame X has its share of colorful neo-disco numbers and shimmering chill-out tracks, but they're painted in dark hues, and they're surrounded by songs so closely cloistered, they can play like mini-suites. Case in point is "Dark Ballet," an ominous number that descends into a sinister, robotic rendition of Tchaikovsky's "Dance of the Reed Flutes" section from The Nutcracker -- an allusion that recalls not the future, but the dystopian horror show of A Clockwork Orange. Such darkness hangs heavy over Madame X, surfacing fiercely in the clenched-mouth phrasing on "God Control," but present even on the bobbing reggae of "Future." The murk does lift on occasion -- "Come Alive" gains levity from its clustered polyrhythms -- but the somber tenor when combined with fearless exploration does mean Madame X can be demanding listening. The rhythms are immediate, but the songs aren't, nor are the opaque productions. While this thick, heady confluence of cultures and sounds may demand concentration, Madame X not only amply rewards such close listening, but its daring embrace of the world outside the U.S. underscores how Madonna has been an advocate and ally for left-of-mainstream sounds and ideas throughout her career.
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Danish music magazine Gaffa published their review of Madame X. Here's my rough translation:
Split personality from Portugal
3/6
https://gaffa.dk/anmeldelse/137968/anmeldelse-personlighedsspaltning-fra-portugal/
It's obivious that Madonna's fourteenth album, Madame X, was inspired by sounds from all over the world, serving you anything from Eurodance to Latin rhythms. Several songs are even bilingual, with Madonna singing in Spanish and Portuguese.
Madonna has explained that the Madame X character has several identities. She is a professor, a home carer, a nun and more. Similarly, the album reflects several personalities. The 15 new songs (18 on the deluxe version) might as well have been recorded by several different artists and not just one. Here, the 60-year-old singer shows how versatile she is, but unfortunately it is also the reason why it takes quite a few listens to understand the album as a whole.
The highlights are few, but undeniably strong. "Crave" is slick and almost minimalist in comparison with the rest of the album. "Medellín" gives you eurodance vibes on top of a well-produced electronic beat. "I Rise" stands as a beacon on an album which, at first listen, is dominated by unmemorable songs.
Previous Madonna ratings by Gaffa:
- Rebel Heart: 3/6
- MDNA: 4/6
- Hard Candy: 3/6
- Confessions on a Dance Floor: 3/6
- American Life: 5/6
- Music: 4/6
- Ray of Light: 4/6
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Danish newspaper Politiken published a 4/6 review on the cover of their Culture section. I haven't had the chance to read it in full yet, and it isn't online yet either, but they call the album the craziest experiment of Madonna's career.
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6 hours ago, RyanAnth4 said:
Can you offer link to get this version , searched on Amazon and can’t find it ??
It's probably digital-only and hasn't been added to the store yet.
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Madonna - Madame X
6/10
https://www.clashmusic.com/reviews/madonna-madame-x
Bizarre or bold, delusional or avant-garde, this album is guaranteed to make you feel something - good or bad, or even both...
Expecting the unexpected is the wrong way to go into ‘Madame X’, after all, this is Madonna. If anything, expecting the expected (and then some) would be a more appropriate way to digest what really could be the most bizarre album of 2019.
Madonna’s edge has always been the shock factor. When it comes to lyrics and music videos, she practically invented it. But ‘Madame X’ feels different, not because it isn’t set out to shock (it undoubtedly is) but with lyrics like, “We need to wake up” thrown at around every corner of the album it’s to not at least entertain the idea of self-parody. For instance, opener ‘Medellín’ with Columbia’s Maluma - exploding with carnival charisma - is a hip-swayer (there’s no doubt you’ll catch yourself singing along to “Slow down papi” after a few listens) but a bizarre start when the next five songs go on to highlight worldly troubles such as fake icons and poverty, and the album’s overall sense of doom and gloom.
This near-humorous approach to addressing humanity’s pitfalls is only heightened halfway through ‘Dark Ballet’, when a rendition of Tchaikovsky’s ‘Nutcracker’ suddenly rears its sweet and sticky head. We are then told that, “The storm isn’t outside, it’s inside of us”…which is so laughable that it's got to be applauded.
A good portion of the album’s tracks are co-produced by French producer Mirwais, who is no stranger to working alongside Madonna. Another prominent producer amongst the rankings is frequent Kanye collaborator Mike Dean, and after first listen a clear pattern emerges as to who got which task. Dean’s first track, ‘Crave’ with Swae Lee, is the perfect chart topper - a steady back-beat paired with identifiable lyrics about love and desire, with Lee’s verse acting as the cherry on top. Dean goes on to appear on the credits of others, like ‘Crazy’ and ‘Come Alive’ – perhaps the album’s stronger songs, if “stronger” means the perfect pre-drinks backing tracks.
Mirwais however, seems to have been handed the trickier task of making the impact tracks, such as ‘Extreme Occident’ (and ‘I Don’t Search I Find’. Here enters the extreme over-production with an added gallon of autotune. Over the years Madonna has never shied away from the voice-enhancer, but its heavy presence on the album points to either full frontal delusion or avant-garde postmodernism.
It is truly hard to conclude. But ‘Madame X’ isn’t just an album (if it is that at all) – it’s an opera, or a comedy of errors. It’ll make you feel confusion, frustration, happiness and maybe joy, but it will definitely make you feel.
Words: Laura Copley
Dig it? Dig deeper: Maluma, HMLTD, Sinitta
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1 hour ago, alquemist said:
Finally a positive review from Germany: https://sz.de/1.4479563
Positive indeed:
""Madame X" sounds as if Madonna is enjoying making music again for the first time in years, experimenting with it, and as if she relies on her intuition. On her two most recent albums, her intuition was nowhere to be felt. She was chasing the latest pop sounds. "Madame X" is Madonna rediscovering her groove."
According to the reviewer from Süddeutsche Zeiting, "Killers Who Are Partying" is the only song that isn't good.
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MadonnaTribe reports that the Italian press was invited to listen to Madame X yesterday, and their reviews have started appearing:
Vanity Fair Italia: Very positive. The reviewer says that not everyone is gonna like it.
Rockol: Mixed. The reviewers seems most impressed by "Come Alive" and "Faz Gostoso".
Il Manifesto: Very positive.
Ansa: Rather objective/neutral in its descriptions of the songs, but feels generally favourable.
La Presse: Very positive. The reviewer describes "Dark Ballet" and "Extreme Occident" as 'successful experiments', and mentions "Killers Who Are Partying" as a highlight.
Paolo Giordano: Very positive. He mentions "Batuka" as one of the best songs on the album.
Pickline: Mixed. "Crave", "Crazy", "I Rise", "God Control" and Faz Gostoso" are mentioned as highlights.
GingerGeneration: Generally favourable. The reviewer seems most impressed by "I Don't Search I Find", "Killers Who Are Partying", "Bitch I'm Loca" and"Faz Gostoso".
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The Daily Star published a generally positive track-by-track review:
Medellín (with Maluma)
Medellín's psychedelic groove works great as an introduction to what's to come. Strap in... 8/10Dark Ballet
Madonna's very own Bohemian Rhapsody. A mad, brilliant epic which veers from dubstep to classical. 9/10God Control
A total pop banger, it's essentially a sequel to her classic hit Vogue. 10/10Future (with Quavo)
A weird choice to perform at Eurovision, Future is easily the worst song. The beat goes nowhere and Migos rapper Quavo just sounds bored. 4/10Batuka
Her most convincing hip-hop groove. At 61, she's still learning new moves. 9/10Killers Who Are Partying
The most controversial song, she states "I'll be..." Africa, Islam, poor and Israel. It'll need a few plays to work out what the song's message really is... Expect a social media war. 7/10Crave (with Swae Lee)
Madonna and Swae Lee flirt over a heartfelt acoustic backdrop. 7/10Crazy
Could be by anyone. A forgettable filler track. 5/10Come Alive
A similar drum attack to Batuka, it's Madonna in attack mode as she snarls: "Who are you talking to?" It turns into a dreamy waltz to stay alive. 8/10Extreme Occident
Crashing pianos, Indian percussion and rare drama as Madonna sings about doubting herself. 8/10Faz Gostoso (feat. Anitta)
An epic trance tune which features some hypnotic chanting. 9/10Bitch I'm Loca (feat. Maluma)
Madonna and Maluma trade lines over a hypnotic groove. 8/10I Don't Search I Find
Along with God Control, the album's other slice of perfect vintage Madonna disco. 10/10Looking for Mercy
Another soaring ballad but it's more basic than Crave and goes on too long. 6/10I Rise
A stadium ballad, you can almost smell the smoke machines. 7/10
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7 hours ago, Gabriel Ciccone said:
I notice many reviews can't describe some songs, like Faz Gostoso. One said it's samba, Anitta told it was a funk.
The only realistic description was made by The Guardian's reviewer, who described it as "somewhere between baile funk and Angolan kuduro"
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1 hour ago, eroticerotic said:
All signs point to it being the centerpiece of the album! I hope the handmaid tale look is in the video
Madonna revealed yesterday in a YouTube Q&A that it's her favourite song on the album.
"because the song changes gears so many times. It starts off one way, then it becomes classical. A lot of modern and classical sounds."
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3 hours ago, dcbyebyebaby said:
What remixes did they do for Rebel Heart? I couldnt find any one Spotify but the name sounds familiar.
My guess: LA95 is an alias of Mathieu Jomphe, aka Billboard, who co-produced "Ghosttown" and "Crave".
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2 hours ago, Shane said:
Second, I hate fake news so would like to confirm: was Madonna actually flat and they tampered with and replaced her vocals for the upload, or was it a bad mix and they simply adjusted that for the upload? I would genuinely like to know what was done.
During the performance of "Like a Prayer", Madonna's was so off pitch throughout the song that the live autotune effect didn't do her any good. If anything, it made her sound even worse.
After having listened to it a few times, I've come to the conclusion the vocals heard in the uploaded video are mostly from an entirely different recording.
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4 minutes ago, reQuiem4adream said:
It’s been a few days. Have people forgotten about it yet?
No.. Danish music magazine Gaffa is now reporting that Madonna is trying to cover up her Eurovision "failure" by uploading a 'fixed' version of the performance on her YouTube channel.
They also ask their readers a question: What is more embarrassing – admitting that you sang off key on live television or trying to make it sound like it never happened? -
41 minutes ago, Confessit said:
Just so I understand it then please....there is still no offcial upload from Eurovision but Madonnas people have now released the performance?
Correct. The EBU most likely don't have the rights to upload it on the Eurovision YouTube channel - and that was allegedly one of the contract issues.
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2 hours ago, david86 said:
This version is absolutely beautiful. I don't know what they did to the live broadcast, as images were switched for weird angles of the ceiling lights. You might as well think they(esf) messed up the sound too.
The broadcast directors cutting away from the Palestinian flag as soon as they realized it was there. However, they failed to react until the flag was off screen.
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21 minutes ago, Napoléon said:
I'm not sure what is going on.
I just watched the Vevo version on her channel and I'm pretty sure there was nothing different regarding vocals compared to the streamed version I watched on the Eurovision Youtube channel?!?!
I'm not sure why people are saying they cleaned up her vocals because to me I didn't hear a difference.
Was there something wrong with the television broadcast? I can only go off both videos I've watched so far and neither are as terrible as what people are saying. As has been pointed out she has had far far far worse vocal performances so I don't know why THIS is being singled out. It wasn't even that bad?
They definitely cleaned up M's live vocals in "Like a Prayer" for the video uploaded on her YouTube channel. It's so obvious, especially on the notes that she missed in the live broadcast.
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Having rewatched the performance, I think her LAP vocals weren't that bad, apart from a few missed notes.
What bothers me about the performance is the outfit and visuals for "Future", which didn't fit the song at all, and Quavo's enthusiasm - or lack thereof - whenever he was on screen.
I was very positively surprised when I heard "Dark Ballet". It sounded nothing like what I'd expected!
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