Confessions II — Album Reviews/Discussion

[Carey]

Suspect she'll get a really positive press and then snark from Bitchfork.

[air1975]

6 minutes ago, Carey said:

Suspect she'll get a really positive press and then snark from Bitchfork.

lol you are probably right

[Beastialg]

Remixers United Music Review: Madonna "Confessions II"

Rating: ★★★★

The Queen has returned to the building she designed and ruled for over a decade. After a seven-year silence since the experimental detours of Madame X, Madonna has delivered a project that instantly renders the current pop landscape pale by comparison. Confessions II is not merely a sequel; it is a high-velocity reclamation of her territory. Spanning seventy minutes of continuous, gapless music, this album is a visceral reaction to a world in chaos and a personal life marked by profound upheaval—a proof of how pop music should sound when executed by its greatest architect. This is her most vital, focused, and essential work since her 2005 peak.

The genesis of this project was born from a period of professional roadblocks and deep personal grief. After her self-directed biopic was shelved by Universal due to budget constraints and a Netflix series stalled in development, Madonna found herself at a crossroads. She decided to make a dance record as a distraction from the waiting game, feeling that "the world is in a very dark place and people need to dance." The spark for this new era was reignited during the soundchecks of the Celebration Tour, where she reunited with Stuart Price. Despite a fifteen-year silence between them, the tour rehearsals reminded them of a rare, subterranean chemistry—a shared language that is both sonic and emotional. Moving her life to London to work in Price’s Maida Vale studio, Madonna sought to create a record that didn't just chase the ghost of the first Confessions, but one that would stand as its darker, more sophisticated superior. She described the process as "medicine for my soul," a space where she could exercise full artistic freedom without asking for anyone's permission.

The album is heavily marked by the trauma of 2024—a year defined by the loss of her brother Christopher Ciccone and her stepmother Joan, alongside her own brush with mortality. Madonna describes the resulting music as a way to process family history through the relentless pulse of Detroit techno and Chicago house. She has curated these tracks based on a singular, primal rule: how much they force the body to move. The result is a ritualistic sanctuary where the dance floor becomes a space for total liberation and a higher state of consciousness.

───

1. I Feel So Free

Genre: Dark Deep House / Electro-clash

The album opens not with a beat, but with a disarming spoken invitation: "Thanks for coming." It feels as though Madonna is standing at the heavy iron doors of a darkened club, beckoning you to leave the outside world behind. This track acts as a complete reclamation of the dance floor, reminding the world why the crown still sits where it does. Built on a menacing, bubbling Moroder-style bassline, it places the listener right in the middle of a crowded basement club where the walls are sweating. It feels like a direct spiritual descendant of "Future Lovers," weaving together a hypnotic pulse with the legendary breathing samples from the house classic "French Kiss." The production is exceptionally crafted—a suggestive and grounding journey that strips away unnecessary noise and replaces it with pure, pulsating energy. It is a sublime, danceable masterpiece that serves as the ultimate teaser for the album's dark heart.

• The Lyrics:"Sometimes I like to just hide in the shadows / Create a new persona / A different identity... Everything begins with consciousness... Safety in numbers / But out here on the dance floor, I feel so free."

Rating: 9/10

2. Good For The Soul

Genre: Detroit Techno / Cosmic Spiritual Disco

The tempo surges as the ceiling of the record blows wide open. This is a soaring spiritual anthem that feels like the natural evolution of the Ray of Light era, taking that search for enlightenment and fastening it to a relentless, industrial heartbeat. It pulls from the raw, metallic soul of Detroit techno but polishes it with a shimmering, cosmic gloss. Madonna sets the stakes early with the mantra: "Everything begins with consciousness." From there, the song becomes a celestial road map, name-checking her own astrological placements—her analytical Virgo Moon and her sensual, grounded Taurus Venus—to align her internal world with the universe. Sonically, it echoes the sophisticated, high-art disco of Róisín Murphy, where the music feels both expensive and sacred. This is where the physical body and the spirit finally merge on the floor to wash away the weight of the world. The energy shift from the basement to the stars is a breathtaking moment of transformation.

• The Lyrics:"Traveling through space and time / Interstellar helix unwind / Don't forsake or the love will die... Drifting through the stars for miles / Moon is in Virgo, the sun in the sky / Venus in Taurus, the planets aligned... On the spiral light, we fly / We will be one, we will be divine / All the spirits, they all intertwine... So just dance in the rain, no need to explain."

Rating: 10/10

3. One Step Away

Genre: Industrial Techno / Noir Pop

Relentless and cinematic, this track carries a driving energy that feels like a high-speed chase through a neon city in the pouring rain. Madonna delivers a commanding spoken-word manifesto, defining the dance floor as a "threshold" where movement replaces language. The industrial bassline and sharp drums create a sense of life-or-death urgency that mimics a racing heartbeat. It explores that thin, vibrating line between losing your head and finding salvation through pure motion. The energy is anxious, driving, and highly physical, addressing the "violence and trauma" of her recent past. It acknowledges the hard truth that true prayer often only begins when we are completely broken, ultimately framing the act of constant motion as the only path to freedom. It is a heavy-hitting moment that weaves together a hypnotic pulse with a desperate, physical need for release.

• The Lyrics:"People think that dance music is superficial / But they've got it all wrong / The dance floor is not just a place, it's a threshold / A ritualistic space where movement replaces language... One step away from your freedom / One breath away from the dance of blood / One step away from your heartbeat... Salvation, all God's children can be saved / We're all waiting for our freedom."

Rating: 9.5/10

4. Bring Your Love (with Sabrina Carpenter)

Genre: 90s Piano House

A lesson in how to command a groove, "Bring Your Love" pulses with a familiar but evolved architecture. The track dives headfirst into a sophisticated '90s-inspired house sound with a nod to her classic "Vogue." It features crisp, insistent beats that echo the sleek minimalism of the original Confessions era and vocal precision that cuts cleanly through a lush, club-ready mix. Madonna famously approached Sabrina Carpenter over an Instagram DM for this collaboration, and the result is a masterclass in pop synergy. It brilliantly interpolates Inner City's 1988 classic "Good Life," connecting her legacy to the roots of the club scene. Lyrically, the song is a bold statement against industry judgment and "numbers" culture. It opens with a sharp dismissal, unfolding as a cross-generational conversation. They don’t sound like mentor and student; they sound like two powerhouses trading war stories about the cost of fame. The synergy bridges two eras of pop power and glides perfectly into the next song.

• The Lyrics:"Ask yourself this / What are you doing it for? / Is it for you? Is it for them?... Don't comment on my ideas / I don't want your judgment or your expectations... Don't wind me up like a toy / Your vision of me is a killer of joy... I know where the bodies are buried / Don't try to shut me up / Don't try to distract me with numbers / I did it all for love."

Rating: 9/10

5. Danceteria

Genre: Minimalist NYC House / Spoken Word

A sleek, neon-soaked fever dream that functions as both a club weapon and a historical map of 1980s New York City. This track is a tribute to the legendary 21st Street club where it all started, capturing the exact "omnivorous" spirit of the original venue. Musically, it blends a gritty, post-punk bassline with a polished synth-pop sheen. The rhythmic delivery in the verses draws comparisons to the "Vogue" rap, but it is anchored by an interpolation of Lou Reed's 1973 classic "Walk on the Wild Side." Madonna uses this stream-of-consciousness flow to tell specific stories about her youth, pulling the listener through the elevator doors and onto the third-floor dance floor. It functions as a roll call to immortalize the actual friends and figures she encountered during her rise: Martin Burgoyne, Keith Haring, and Jean-Michel Basquiat. The narrative climax arrives with the mention of Mark Kamins in the DJ booth—the "Genesis" moment where he played her demo of "Everybody" to see if the floor would react. It ends in a massive explosion of sound—a chaotic buildup of house stabs and white noise as she catwalks in new Mugler.

• The Lyrics:"Meet the doorman Haoui Montaug / Plays us in, no entiendos... Then I see Mark Kamins is the DJ / Trade my tape, everybody... Everyone here is a work of art / Everybody get up and dance."

Rating: 10/10

6. Read My Lips (with Feid)

Genre: Deep House / Latin Pop Fusion / Reggaeton

"Read My Lips" is a seductive, shape-shifting collaboration that fuses deep house with a heavy Latin reggaeton influence from Feid. Lyrically, the track delivers a cynical look at betrayal and the exhausting nature of people who treat life like a performance. The production is masterfully stripped back, allowing a slinky bassline and a sharp guitar riff to carry the tension, while the vocals remain whispered and intimate. There is a dark, bitter edge here that cuts cleanly through the danceable groove. While the FIFA single edit offered a shorter, more guitar-centric version, the full album version changes the game entirely. It is significantly longer, stretching out the tension and replacing the single's lighter tone with a much more aggressive, driving energy. It explores the feeling of being "broken up inside" and eating the "poison fruit." Within the grander flow of the project, it represents a slight dip in the spiritual momentum, but remains a cool, biting moment of confrontation.

• The Lyrics:"You're giving leading actor / You wanna steal the show / Shut your mouth... Read my lips / Tell it to my face... And you cut me with your lies / 'Cause you hurt me with your kiss / You're just broken."

Rating: 7.5/10

7. Everything

Genre: Mid-tempo Club / Nu-Disco (Dubstep/Daft Punk infused)

A massive club anthem that serves as pure disco euphoria with a gritty, modern twist. The production is a collision of heavy dubstep-inspired bass wobbles and the sleek, robotic feel of Daft Punk. Layered with big, cinematic strings, it celebrates total abundance. It reminds us that in this world, "too much of a good thing" is never enough. It sounds like the peak of a high-fashion 70s club night mixed for a robotic future. The energy is lush, aggressive, and celebratory, opening up into a space of pure light when the chorus hits.

• The Lyrics:"When I close my eyes... I see everything / Too much is never enough / I want the world and everything in it... Give me abundance, give me the light."

Rating: 10/10

8. Love Sensation

Genre: Diva House / French Touch / Nu-Disco

This represents a singular, uncompromising vision of pure club escapism. The track loops together elements of pulsating electronica and French house, paying direct homage to the sweat-soaked energy of the original 2005 album while pushing contemporary boundaries. The sonic architecture is built around an addictive, filter-heavy bassline and rich synthesizer textures. Madonna's voice integrates directly into the instrumentation, twisting through heavy electronic hi-hats like a seasoned club vocalist who understands that movement takes precedence over standard lyricism. It refuses to conform to safe pop structures, leaning into the late-night pulse of genuine house music. Lyrically, it embraces simplicity, functioning as a spiritual manifesto for club culture. The repetitive, chant-like hook of "love sensation / good vibration" operates as a primal house mantra, focusing entirely on the raw, healing power of physical connection.

• The Lyrics:"When I feel alone / I always wanna bring you near... Sunlight’s all around you... Love’s the reason why / It’s a drug that I can’t stop taking... Love sensation / Good vibration."

Rating: 9/10

9. Love Without Words

Genre: Ambient House / Deep House / Ethereal

A stunning sonic palate cleanser. While the tempo resides in standard house territory at 125 BPM, the production wraps the track in an aquatic, subterranean soundscape that creates the illusion of a dreamlike, much slower pace. It prioritizes texture and mood over aggressive climaxes. The architecture relies on sweeping, filtered synthesizers and long, echoing delays that submerge the driving percussion. Madonna's vocals float like a ghost through layers of reverb, mixed deeply into the instrumental fabric. Lyrically, it explores the idea that the most profound connections on a dance floor happen in total silence. It is a hypnotic track that allows the listener to drift in pure atmospheric bliss.

• The Lyrics:"Come on to the Club of Love... In the silence, I find you... It's the Club of Love / The Club of Love."

Rating: 10/10

10. Bizarre (with Martin Garrix)

Genre: Clinical Techno / Noir-Electro

As the night moves into the deep session, Martin Garrix brings a clinical, sharp production style. This track calls back to the pulsing synth-bass of "Sorry," but breaks it down into something far more haunting and cold. It is a deeply personal look back at her relationship with Sean Penn, exploring a love that was as intense as it was "bizarre." The production is "glitchy"—vocals are chopped and re-pitched to mirror a fractured state of mind. Garrix uses a minimalist, pulsing synth-line that sounds like a siren in the distance, capturing a bond that still holds magnetic weight decades later. It's a masterclass in electronic unease and retrospective pain, referencing the Shelby Cobra and the "perfect prize" of 80s Hollywood. The track explores how he drove way too fast and how they were trapped in the static of a falling star.

• The Lyrics:"Who knew love could be so bizarre? / Trapped in the static of a falling star... Movie star, deep blue eyes / In Hollywood, we're a perfect prize / He drove way too fast / Shelby Cobra, wasn't meant to last."

Rating: 10/10

11. School

Genre: Avant-Garde Electro / High-Concept House

A masterclass in high-concept electronic pop. The track marries precision-engineered energy with a sharp, conceptual edge. Instead of a predictable duet, the song takes a turn into avant-garde territory, functioning as a stiff, slightly menacing exploration of the hard lessons of fame and control. Opening with a sharp spoken intro announcing that "School is in session," Madonna’s vocals are heavily processed, transforming her into a high-tech schoolmistress commanding a digitized classroom. Lyrically, it’s a bitter takedown disguised as an art history lesson. Scathing lines like "Maybe you're Picasso / But you're also a liar" offer a critique of a partner who possesses genius but lacks honesty. It is a song where the dance floor is weaponized—a cold, neon-lit classroom where the final grade is survival.

• The Lyrics:"I can make moves on the dance floor / I can make love on a man's floor... Once I had a masterpiece / That burned in the fire... Paint me with your memory and / Not with your eyes... School is in Session."

Rating: 10/10

12. Fragile

Genre: Glassy House Ballad / Trip-Hop

The emotional heart of the record. This house ballad was written following the death of her brother, Christopher Ciccone, right after a final phone conversation. Madonna described the experience as "cathartic" and "like an exorcism." It is haunted by sweeping, mournful strings reminiscent of "Frozen" and captures the moment the club lights go out and the mask is finally dropped. It is an honest, crystalline look at grief and the human spirit. Surprisingly fast-paced for a ballad, it creates a unique tension between the trip-hop pulse and the raw vulnerability of the lyrics. It moves from the pain of loss to a selfless final wish for happiness.

• The Lyrics:"We shared a fragile bond / Now you're gone / We laughed we cried / We held each other's hands... They say loss isn't like the movies / I grieve, said we're fragile... I took the blame / The blade inside / My heart, I know / Don't forget about me, don't forget to be happy."

Rating: 10/10

13. My Sins Are My Savior (featuring Stromae)

Genre: Dark Belgian Techno / New Beat

A dark, rhythmic masterpiece of electronic gloom with a slower, heavy energy. Stromae's production adds a gritty, industrial Belgian edge to the vocals. This deep '90s fantasy song was inspired by narrow-minded people who judge before investigating. It explores how our scars and mistakes often become the path to our own redemption. It is a defiant, murky anthem that proves there is power in the things the world tries to use against you.

• The Lyrics:"I was not lost, I was just broken / They tried to take me down... My scars are my armor / My sins are my savior."

Rating: 10/10

14. Betrayal

Genre: Cold Wave / Synth-Wave

A high-tension synth-workout exploring the pain of broken trust through a driving, slow-burn beat. The production, the rhythm, and the haunting trumpet bring back memories of her most cinematic noir-inspired work from the early 90s. It acts as the final emotional struggle before the album reaches its resolution. The energy is sharp, cold, and calculated, dissecting the mechanics of a lie with precision.

Rating: 8/10

15. The Test (with Lola)

Genre: Experimental Art-Pop / Deconstructed Club

As we reach the "dawn" of the record, the energy shifts into something far more intimate: a soulful duet between mother and daughter. Serving as a "healing moment," the track finds Madonna and Lola in a sonic embrace that feels both vulnerable and avant-garde. Anchored by Arca-penned production, it provides a glitchy landscape of deconstructed synths and skittering beats. Sonically, "The Test" is the Confessions answer to "Little Girl" from her 1998 masterpiece Ray of Light. Lola's airy voice is a perfect counterpoint to Madonna's grounded resonance. The lyrics are deeply reflective, a dialogue about legacy and the realization of aging. While the jarring production might disrupt the floor's momentum, as a piece of emotional storytelling, it is an essential highlight.

• The Lyrics:"A hand tenderly reaching to me / You are my reason to be... I trace the line of what you have sewn / Keep my own design... I know they try to put you to the test / I’m not so different, time is knocking on my doorstep... You are all of me."

Rating: 7/10

16. L.E.S. Girl

Genre: Funky House / Post-Disco

The perfect ending. A funky, Lower East Side-inspired track that returns to NYC roots with a smile. It is the sound of walking home through Manhattan as the sun comes up, feeling invincible and completely at peace. It brings the journey full circle, moving from the basement shadows of the opening back into the morning light. With its infectious strut and celebratory energy, "L.E.S. Girl" is destined to become a massive TikTok hit, serving as a triumphant victory lap for a survivor who has done the work and found her way back to the light.

Rating: 8.5/10

───

Bonus Track: Hot Sauce (Icon Edition)

Genre: Hard Techno / Aggressive Pop

An exclusive club firework for the Icon Edition. This fiery cut feels like a modernized successor to the experimental Madame X era, polished through Stuart Price’s high-pressure lens. Released as part of the "Absolut Icon" campaign, it uses heat as a metaphor for power and provocation. It’s a high-octane shot of adrenaline that proves her sting hasn't faded.

• The Lyrics:"Some people like it mild... but you know I like to burn... Hot, hot, hot / Mas, mas... / Put your hot sauce on me... I'm the fire, I'm the light."

Rating: 9.5/10

───

The Verdict: The Architect Reclaims the Palace

With Confessions II, Madonna hasn't just returned to the dance floor; she has fundamentally redesigned the cathedral of pop. Spanning a vast emotional range, the album finds its greatest strengths in the relentless drive of "One Step Away" , the historical immersion of "Danceteria" , the atmospheric depth of "Love Without Words" , and the raw, bleeding heart of "Fragile" . These standout moments elevate the record from a simple club project to a monumental achievement in technical precision and artistic weight.

This is her most vital and essential work in over two decades, a triumphant comeback that effectively places every one of her successors in the shade. Madonna has reminded the world that she is not a legacy act coasting on nostalgia, but a hungry, revitalized creator who still possesses the sharpest instincts in the industry. The collaborations here are inspired—from the high-energy generational pact with Sabrina Carpenter to the clinical techno of Martin Garrix, the industrial edge of Stromae, and the avant-garde friction provided by Arca.

Speaking of Arca, while the track "What Will Save Me" (produced with Price and Arca) was ultimately scrapped from the main tracklist, it hints at the vast amount of material recorded for this era. Madonna revealed that eight songs didn't make the cut, teasing that "they're gonna find their way out into the world." Fans won't have to wait long, as a Super Deluxe Edition featuring 24 tracks is already on the horizon and a re-worked edition of the first Confessions on a Dancefloor. Also a collaboration with Miss Kylie Minogue might come sooner than you think.

The Queen is back on the floor, sharper and more dangerous than ever, and she is clearly playing for blood and revenge taking back her crown. Confessions II is more than just an album; it is the definitive pop event of 2026, proving once again that while the body may be breakable, a spirit fueled by a relentless 4/4 beat is absolutely invincible.

[Gabriel Ciccone]

19 minutes ago, Carey said:

Suspect she'll get a really positive press and then snark from Bitchfork.

I don't think so...from Pitchfork I expect the worse. My bet is 6.5-7.5, maybe a 7.8 if they praise. 8.0 or higher it will be a surprise.

[luizotaviobarros]

↑

Read the Remixers United review shortly before you posted it. Don't know if they're legit?

Well, maybe they did hear the album, but parts of the text are giving AI. 

[systemvalues]

"Madonna revealed that eight songs didn't make the cut, teasing that "they're gonna find their way out into the world." Fans won't have to wait long, as a Super Deluxe Edition featuring 24 tracks is already on the horizon and a re-worked edition of the first Confessions on a Dancefloor. Also a collaboration with Miss Kylie Minogue might come sooner than you think."

[Beastialg]

10 minutes ago, luizotaviobarros said:

↑

Read the Remixers United review shortly before you posted it. Don't know if they're legit?

Well, maybe they did hear the album, but parts of the text are giving AI. 

Maybe they used IA for the texts but the info itself seems align with what other people that got the album earlier are saying from the tracks 

[TXIII]

31 minutes ago, Beastialg said:

Remixers United Music Review: Madonna "Confessions II"

Who?

[svperstar]

10 minutes ago, systemvalues said:

"Madonna revealed that eight songs didn't make the cut, teasing that "they're gonna find their way out into the world." Fans won't have to wait long, as a Super Deluxe Edition featuring 24 tracks is already on the horizon and a re-worked edition of the first Confessions on a Dancefloor. Also a collaboration with Miss Kylie Minogue might come sooner than you think."

Where does THIS come from? Or are you just yanking my chain?

[bard]

 

18 minutes ago, luizotaviobarros said:

↑

Read the Remixers United review shortly before you posted it. Don't know if they're legit?

Well, maybe they did hear the album, but parts of the text are giving AI. 

it screams AI. nobody writes like that. and lots of tidbits seemingly pulled from various sources/interviews. but still an enticing read!

[systemvalues]

2 minutes ago, svperstar said:

Where does THIS come from? Or are you just yanking my chain?

From the post of beastialg.

[systemvalues]

1 minute ago, bard said:

include sources please.

 

it screams AI. nobody writes like that. and lots of tidbits seemingly pulled from various sources/interviews. but still an enticing read!

Did you read his post with the review or only mine with the "?

[Beastialg]

51 minutes ago, systemvalues said:

From the post of beastialg.

https://www.facebook.com/share/p/1DNnSruzYh/?mibextid=wwXIfr

[systemvalues]

Just now, Beastialg said:

https://www.facebook.com/share/p/1DNnSruzYh/?mibextid=wwXIfr

Why do you send this to me?

[vertigokane]

The Remixers United was definitely written by AI. Never have heard of that outlet.

Edit: oh, I see they’re a Madonna fan group. 

[songkaiwen]

7 minutes ago, vertigokane said:

The Remixers United was definitely written by AI. Never have heard of that outlet.

Edit: oh, I see they’re a Madonna fan group. 

That makes more sense! I love Madonna, but Hot Sauce being 9.5/10 is ridiculous haha

[jonski43]

Rolling Stone is supposedly the first review to be published when the embargo is lifted.

[luizotaviobarros]

I think pitchfork might be less cruel this time around. They didn't hate IFSF (or was it BYL?), and last week they referred to C2 as one more jewel in the crown or something. 

[Ekubo]

6 minutes ago, luizotaviobarros said:

I think pitchfork might be less cruel this time around. They didn't hate IFSF (or was it BYL?), and last week they referred to C2 as one more jewel in the crown or something. 

It was the review of BYL

https://pitchfork.com/reviews/tracks/madonna-sabrina-carpenter-bring-your-love/

[TXIII]

41 minutes ago, jonski43 said:

Rolling Stone is supposedly the first review to be published when the embargo is lifted.

Where did this rumor come from?

[luizotaviobarros]

29 minutes ago, Ekubo said:

It was the review of BYL

https://pitchfork.com/reviews/tracks/madonna-sabrina-carpenter-bring-your-love/

Oh, yes, thank you!

[Martin B.]

1 hour ago, luizotaviobarros said:

I think pitchfork might be less cruel this time around. They didn't hate IFSF (or was it BYL?), and last week they referred to C2 as one more jewel in the crown or something. 

I doubt it. All the pop reviews are done by the same three reviewers: one is a Little Monster, one is a Janet fan, and the other is a Lamb (and the one who makes the most biased comments). There’s no chance of getting a fair review here. 

[bard]

59 minutes ago, luizotaviobarros said:

I think pitchfork might be less cruel this time around. They didn't hate IFSF (or was it BYL?), and last week they referred to C2 as one more jewel in the crown or something. 

yeah, they can see which way the wind is blowing right now. 

 

10 minutes ago, Martin B. said:

I doubt it. All the pop reviews are done by the same three reviewers: one is a Little Monster, one is a Janet fan, and the other is a Lamb. There’s no chance of getting a fair review here. 

maybe not fair, but i don't think they'll pan her this time. 

[Martin B.]

2 minutes ago, bard said:

yeah, they can see which way the wind is blowing right now. 

 

maybe not fair, but i don't think they'll pan her this time. 

I don't think they'll find an angle to tear the album apart, either. They'll be condescending, as usual, but they'll have to give it the passing grade.

[Django]

Wait and see how Bitchpork gives the album to review to a Lamb who hates Madonna. 

[Joao]

On 6/21/2026 at 12:05 PM, vertigokane said:

Absolutely absurd she’s never gotten a 5/5 from RS — but I do maintain that despite being the most successful female artist of all-time, her music is vastly underrated and (seemingly) purposely minimized by critics — specifically her songwriting abilities and quality. 

Everytime taylor farts they gave her 5/5

[madonna13]

1 hour ago, Joao said:

Everytime taylor farts they gave her 5/5

I've been saying the same thing for years. Beyonce and, especially, Taylor could release absolute trash and critics will still give them high ratings and nonstop grammy love. 

[Icykiller]

Pitchfork is just a bunch of wannabe cool & artsy idiots.  Fuck them. 

[dollhouse]

Hot Sauce Rating: 9.5/10

[Michael.]

The idea that Pitchfork will give a decent review is pretty laughable. Honestly I don’t expect anything above 6.0 - my prediction will be 5.5 or 5.6. The review is probably already written. I’m sure they’ll praise Stuart/her collaborators though. They’ll find ways to criticise her and say it’s not as inspired or as artistic as something that Beyoncé would come up with. And that it doesn’t live up to Confessions I even though they rated that only 6.2!