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Posts posted by material_boy

  1. 14 hours ago, Flip The Switch said:

    Love this. Especially his reactions to: God Control, Bitch I’m Loca, I Don’t Search I Find, Looking for Mercy...



    I love that he stops cold during "God Control" and is just like "WTF is happening?" I think we all had this moment during this full-on life experience of a track.

  2. 7 hours ago, Crozzauk said:

    Everything about this record is so perfect.  I was initially worried by the reports that there was no consistent sound, and some of the collabs were questionable to me - but what im struck by is how solid it is as an album experience. It draws on various world music, but there is an atmospheric vibe to the record which i feel has been missing from her work since Confessions (possibly Hard Candy, but i dont think it necessarily worked on that record).

    God Control wasn't what i expected, it felt disjointed on first listen, but now i cant stop listening. Killers similarly was not what i was expecting, but i love it. i don't find the lyrics cringey at all - quite the opposite, i think the whole track is beautiful.

    Batuka is incredible. Those dramatic synths from Mirwais are everything, and the string outro is just mind blowing. 

    I think Crazy and Come Alive were the unexpected highlights for me. As has been said Come Alive is Body Shop on steroids (and i loooooved body shop). That finial minute of Come Alive is as incredible an outro to a madonna song as i've heard.

    Every song has something of quality in it for me. My main criticism is that i really dont think Faz Gostoso and Bitch Im Loca should have made the main album. They are good songs, but one is a pretty faithful cover version (although i do admit its a great track), the other doesnt really go anywhere, nor fit on the record. Had she gone straight from Extreme Occident to I don't Search I Find, it would have flowed much better, and made the album a solid 10/10 for me.

    I couldn't agree with this more. They be great bonus tracks tacked on a deluxe version, but the album has a much stronger flow without them in the middle there. I created a playlist without them (and "Future," which is the only song I actually don't like on the album) and it's just perfect.

  3. Medellin/Living For Love

    Dark Ballet/Devil Pray

    God Control/Ghosttown

    Future/Unapologetic Bitch (is neither an option?)


    Killers Who Are Partying/Bitch I'm Madonna

    Crave/Hold Tight

    Crazy/Joan Of Arc

    Come Alive/Iconic

    Extreme Occident/Heartbreak City

    Faz Gostoso/Body Shop

    Bitch I'm Loca/Holy Water

    I Don't Search I Find/Inside Out

    Looking For Mercy/Wash All Over Me

    I Rise/Best Night

    Funana/Veni Vidi Vici

    Back That Up To The Beat/S.E.X

    Ciao Bella/Messiah

    Soltera/Rebel Heart

    Madame X - 13, Rebel Heart - 6

  4. 1 hour ago, topdog said:

    It’s a very good album. I’m intrigued by the rumors of a second album and a arena/stadium world tour. Someone said expect the unexpected or there’s more surprises to come. I hope the surprises are mind blowing. 

    What's this now? Have I missed something during my two-day "Madame X" binge?

  5. 23 hours ago, Ai Papi Si. said:

    For real. There doesn't seem to make much sense collaborating with anyone else at this point. Mirwais' work on this album is incredibly diverse and intricate. Nothing samey about it. 

     That's not to say that Starrah and Mike Dean didn't do phenomenal work. But it doesn't hold a candle to Madonna and Mirwais. Clearly they were made for each other

    Yes, yes, YES to all of this.

    We need Mirwais for music director on the tour. Can you imagine what these two could cook up together live?! :dramatic:

  6. 1. God Control

    2-5. In no particular order:

    Come Alive
    I Don't Search I Find

    That neither "Medellin" and "Dark Ballet" are in my top five right now even though they're both fucking phenomenal is a testament to how stunning this album is. This might be her best album since "Music."

  7. 2 hours ago, 5iVe Elements said:

    We’ve never had this bizarre song since IMPRESSIVE INSTANT. Loving it!

    Yeah, I had (amazing) flashbacks to early-2000s experimental era. So refreshing to hear her working outside her comfort zone again. I hope it's a sign of the rest of the album.


    Might be the best track we've heard yet.

    Both Mirwais tracks have both been fantastic. I'm so happy that she's getting experimental in "Dark Ballet." It's been way too long since we've heard her step outside her comfort zone like this.

  9. 3 hours ago, luizotaviobarros said:

    I’m going through a pretty shitty phase in my life right now, so checking these threads every two hours or so is the only thing that’s giving me life really. 

    Medellin is the only song I get goosebumps to, but I’m ok with the others - especially Crave, which I think is her best shot at a moderate AC hit in the US. But, you know what, this is the era in which I’m finally coming to terms with the fact that her singles might never chart again BUT THATS OK. 

    What she’s done with these songs goes way way beyond trend-chasing. They’re more organic, less in your face, more adult, for lack of a better word. 

    As I said, I’m not crazy about IR or C, but it’s the production that keeps me coming back for more. I’m no expert, but the production seems flawless across the board. I keep hearing new nuances with each listen, and COADF was the last time I felt like this. 🙂 

    Same, for the most part. The other two songs are meh for me. They're largely forgettable and simply can't match the Madonna/Mirwais magic that shines in "Medellin." I am desperate to hear what else these two have cooked up.w

  10. On 4/18/2019 at 10:37 AM, Kim said:

    Last night I went to bed
    with this earworm in my head.

    I feel there could be the tiniest bit of judicious editing to make it more compact and immediate, so I'm interested in hearing the radio edit.

    And can I just say WELCOME BACK MIRWAIS. I really love the production and the percussion. The song really has a modern edge that's been missing for a while.


    I remember a topic from a year or two ago in which you and I were arguing for more "maturity" in M's music, and a number of fans on the forum were rolling their eyes at us because they thought "mature" meant down-tempo, sad, dark songs or some basic shit like that. I pointed to "Music" as an example of mature dance music. The simplicity of the lyrics, that iconic one-note bassline, and the naked, untouched vocals demonstrated remarkable restraint and self-confidence -- the sort of thing you'd never get from the forgettable divas on radio today, and exactly the thing that gives "Music" a timeless feel 19 years on while trend-hoppers like "GGW" sounded dated a year after release. "Medellín," I think, demonstrates a similar type of maturity -- "a modern edge," as you say, without capitulating to the dance trends of the day.


    On 4/18/2019 at 3:17 PM, karbatal said:

    And I do feel that this song without Mirwais wouldn't be that brillian. I simply adore the whole production. No wonder Maluma cried. This is the most brillian work he's ever done and I frankly doubt he'll ever be in such a wonderful production ever again. 

    :rotfl: :rotfl: :rotfl: 

    This is so harsh! I mean, it's true, but ...

    I do love a good bitchy comment when it's on point :queenbitch:


    10 hours ago, Bill said:

    I am obsessed.


    I've sent this song to everyone I know who's ever been slightly into M. Can't recall doing this since "Hung Up" dropped.


    This song is fucking JAM!

    Not just the best lead of the Interscope era (because that's not saying much), but easily the best lead since "Hung Up." The production is cutting edge without being trendy. The vocals pop without being totally buried in effects or lost in amateur-ish studio work. The lyrics are light without being cringe-y. This is a return to form in every way -- and the first time I've enjoyed a featured artist on a Madonna track since Prince.

    5/5 -- my Queen, I'm sorry I ever doubted you.

  12. On 9/1/2018 at 12:19 PM, Fender said:

    If she would release one of the songs metioned in "A Return to Upbeat, Escapist Pop …" now , would it be as successful as then?

    Who cares? Her hit days are over. “BIM” charted (barely) cuz a bunch of teens watched it on YouTube for the celebrity cameos.

    Fans need to stop with the “would this be successful” and “she needs to do this or that to get attention.” She should stop chasing trends, focus on the music, and release a good album. It doesn’t matter if it sells 10 million copies or 10,000. If the music is good, listen to it, and stop caring whether it sells.

    (And before someone comes in here foaming at the mouth and screams “She could still get a hit a Europe!!1!” — Take a deep breath, and wake the fuck up. Her label for this next project is still Interscope, which has shown Z-E-R-O interest in promoting her. Maybe if she ditches Interscope for album 15 she could get a hit in Europe, but until that time let’s just stop pretending she has chart potential and focus on the music.

  13. 6 hours ago, dubtronic said:



    Her Fallon "Borderline" look is still by far my absolute favorite post-"RH" era look of her, but I will very excited if she sports a look along these lines for the album artwork. Very simple and beautiful -- LOVE the idea of her sporting a scarf over her hair (and maybe using scarves in other ways) and bringing back layers upon layers of jewelry.

    Also, just a straight portrait shot with no special effects obscuring her face is an excellent F you to the ageists in the media as she turns 60.

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