[thewho]

I want the album now

[Mr. Fahrenheit]

I'm getting a lot of Confessions feelings from these reviews.

[Ra2]

Originally posted by ImpressiveInstant

Exactly what I thought

I was listening to that song RIGHT when I read this.

[Alberto]

Originally posted by Mr. Fahrenheit

I'm getting a lot of Confessions feelings from these reviews.

It has the sound of Confessions, but lyrically is the same as Hard Candy.

[ethan]

I'm so excited for Nicki's new verse! Hopefully the album will meet expectations!

[Sahn]

evening standard

Pretty much every band or musician who doesn’t split up or die reaches a point where they must accept that their fanbase is ageing with them and settle into making music of a signature style again and again. This is where Madonna is out on her own, still striving for contemporary relevance as she releases her 12th album later this month.

That she is increasingly ridiculed for seeking out the youngest, hottest collaborators, a pop vampire chasing eternal youth at 53, shouldn’t matter because here she consistently succeeds. Clubbers less than half her age will have to admit that she has earned her place on the dance floor with MDNA, its title presumably a cheeky play on the chemical name for ecstasy.

If party drugs had been available instead of jellybeans at the Abbey Road press preview for the album, the spiritual home of The Beatles would have witnessed some seriously embarrassing dance moves. MDNA doesn’t let up until the very end, driven by relentless techno beats until the underwhelming Latin sidestep, Masterpiece, near the finish. Weak early singles such as the cheerleader’s chant Give Me All Your Luvin’ (first heard at the Super Bowl) and the generic dance of Girl Gone Wild suggested she’s losing her touch but there’s lots more here that is fantastic.

Gang Bang is weird, minimal and very dark, lurching towards dubstep for a window-rattling climax as Madonna shouts: “Now drive, bitch!” I’m a Sinner, one of several new collaborations with her Ray of Light production partner William Orbit, fizzes along on a speeded-up We Will Rock You beat towards a gloriously catchy chorus. Both of the guest appearances from hotshot rapper Nicki Minaj are a fine fit.

It’s the blatant bid for A-list airplay that is Turn Up the Radio that should ensure that her glitterball shines brighter than ever. A breezy tune with an exhilarating breakdown and loads of stadium synths, it bodes well for a July 17 Hyde Park show that looks increasingly like a heck of a party. Out on March 26.

[Sahn]

drowned in sound

“I’ve been to a couple of playbacks,” comments one journalist after hearing Madonna’s MDNA in full for the first time. “The louder they play the album, the more worried the record label tend to be worried about it.”

‘How loud was this particular listening session in the bowels of Abbey Road?’, you ask. In a word, earsplitting.

For those of you unfamiliar with the story of MDNA so far, this is Madge’s 12th solo album in total, her first for Universal and it has spawned her lowest ever charting debut single in ‘Give Me All Your Luvin”. Its follow-up ‘Girl Gone Wild’ has hasn’t been rapturously received either, so there’s a fair bit riding on this swanky event attended by pretty much every major media outlet in the country… and your humble reporter.

Despite the obvious temptation to declare a phenomenal comeback after the disappointing Hard Candy or a continuation of that muddled slump, what follows is a guide to where the album is at. Not how good it is.

Opinions need time to fester and we wouldn’t want to embarrass ourselves 12 months later for the sake of some easy hyperbole. This is simply our account of what happened when a 53-year-old singer’s latest dance-pop record, primarily aimed at a market of teenage Radio 1 listeners, was played to a room of music critics in their early thirties.

TRACK BY TRACK

1) Girl Gone Wild
The album’s second single, revealed via a cringey lyric video, sets the mould for MDNA. That mould being a whole lot of synth and some frivolous good time lyrics. A modern on twist on the old school fun of ‘Holiday’ and ‘Open Your Heart’.

2) Gang Bang
Despite the eye-raising title this track is more concerned with smoking firepower than demeaning group sex. An orgy of pithy lyrics for your earholes, this song includes the hilarious spoken word kiss off “If you’re gonna act like a bitch, you’re gonna die like a bitch!” Cue blazing shotgun My notes also mention the phrase, ‘Obligatory dubstep breakdown’. Take that as you will…

3) I’m Addicted
Produced by Benny Benassi, ‘I’m Addicted’ is the track from which MDNA gets its name. You can pick this up quite easily because Madge takes to chanting her album’s title repeatedly over some squelching electronic vibrations. A song with an irresistible chorus which comes pretty close to an instant favourite.

4) Turn Up The Radio
So far the Material Girl she hasn’t pulled any punches in pushing for a club-friendly audience but ‘Turn Up The Radio’ feels more like one for the oldies. That is, the theatrics are toned down a bit in favour of a whopping chorus which goes something like this, “Turn up the the radio, turn up the radio. Don’t ask me where I wanna go, we’ve gotta turn up the radio.” Big but in no way clever.

5) Give Me All Your Luvin’ feat. Nicki Minaj & M.I.A.
For all its flaws, it’s easy to see why ‘Give Me All Your Luvin” was selected as the lead single for MDNA. A likeable song with the guest vocals from two critically claimed and commercially successful rappers could have spelt chart gold. If only the whole affair didn’t seem so half-hearted.

6) Some Girls
The first of five William Orbit tracks on the album, this is a disappointment for those expecting the blissed out vibes of Ray Of Light. These come a little later, so for now it’s another slightly tired banger which goes heavy on the vocoder while pushing the vocals right to the back of the mix. Seems to be trying too hard to impress but will hopefully even out on repeated listens.

7) Superstar
Not the first song to see Madonna name check Marlon Brando, this is decent enough mid-album album fare. “Ooh la la, you’re a superstar” goes the idiosyncratic chorus and we bob our head along obligingly. As another bassy wobble reigns in, the album is beginning to feel like a more refined version of Britney’s Femme Fatale. We liked Femme Fatale, a lot.

I Don’t Give A
Just when we were getting worried MDNA was too light on personality ‘I Don’t Gives A’ arrives to allay our fears with lashings of brash sentiment. Tabloid hacks will no doubt have a field day with Guy Ritchie referencing lines like, “I tried to be a good girl. I tried to be your wife”. The real scene stealer comes at the end of the track however, with Nicki Minaj proclaiming, “There’s only one Queen and that’s Madonna. Bitch!” On this form, it’s hard to disagree with the ‘Stupid Hoe’ chanteuse.

9) I’m A Sinner
As everyone knows, Jesus Christ died for Madonna’s right to make mildly controversial statements. While not quite up there with ‘Like A Prayer’s’ comparison of solemn meditation to a good old blowjob, an “I’m a sinner and I like it that way” line at least keeps up the tradition of Catholic-baiting. William Orbit’s track through and through, this mix of looping drums and reverb-laden guitar tees the album up for a decent home run.

10) Love Spent
Featuring a banjo-lead intro and a proper (auto-tune assisted) key change, ‘Love Spent’ is a silly little romp which we were rather fond of. Much like Confessions On A Dance Floor there’s no real message to MDNA, just a series of four-to-the-floor tracks and more reflective numbers like this one.

11) Masterpiece
The album’s penultimate offering and its only straight up ballad, ‘Masterpiece’ is overwrought but underwhelming. Admittedly Madge isn’t famed for her cracking pipes yet a sudden reach for the high notes would do well to distract from a humdrum acoustic backing track. It’s no ‘Crazy For You’ that’s for sure.

12) Falling Free
A complete contrast to the opening synthetics of ‘Girl Gone Wild’, ‘Falling Free’ is a sombre and string-drenched affair. After an avalanche of opening dramatics, it’s pleasing to hear MDNA end on a reflective note. “We’re both free, free to go,” coos the world’s best-selling female artist of all time.

In truth, we would leave but there’s the small matter of some bonus tracks to skip through. Of this ramshackle bunch ‘Beautfiful Killer’ and ‘I ****ed Up’ reward our perseverance but ‘B-Day Song’ and ‘Best Friend’ feel a bit kitsch on first impressions at least.

Summary

Madonna has stepped back into the pop fray with a something for everyone. The first Demolition Crew and Benny Benasssi-produced half of MDNA sees her try and play to a synth-hungry 21st century audience. The second returns to the comforting fold of William Orbit’s mellow ambient bliss.

What we’ll be grappling with as we get down to our review is whether the record hangs to together well enough as a whole. In the opulent surroundings of a free bar and several bowls full of jelly beans, it’s easy to get carried away with your own enthusiasm. Still, we arrived at Abbey Road with no little trepidation and left reassured that Madge hasn’t succumbed to Top 40 drudgery yet. That will do for the meantime.

[Sahn]

examiner

San Diego’s Z90.3 will be premiering tracks from Madonna’s upcoming spectacular album MDNA starting on Friday, March 23. But you don’t have to wait—yesterday, we drove all the way to Los Angeles for a listening party. Needless to say, nearly getting in two accidents and driving in back-to-back rush hour traffic was worth it.

We won’t be able to post our full and detailed review until sometime closer to the release date. However, we can reveal our first impressions after listening to the album just once.

MDNA can best be described as Ray of Light on steroids. You can also throw in some Confessions on a Dance Floor.
The first two singles don’t do this album justice. “Give Me All Your Luvin” still sticks out like a sore thumb on the album. “Girls Gone Wild” is a great dance track, but doesn’t display Madonna’s full capabilities.
Our favorite track on the album is “Love Spent,” an amazing electro-ballad that is beautifully sung and produced. We were told that an acoustic version of the song is set to be released.
Our second favorite song is “Gang Bang,” which is wild, scary, and sexy all in the same breath.
Guy Richie is still on Madonna’s mind. “Best Friend” and “Falling Free” will put a smile on his face.
Sorry, Little Monsters—we love Lady Gaga, but this album makes everything she has ever done seem reductive.

[Sahn]

musicOMH

Yesterday we repaired to London’s Abbey Road Studios to waggle our ears just the once at Madonna’s new album MDNA. The Queen Of Pop’s first album for new label Interscope (Polydor in the UK), it sees her join forces with Italian housemeister Benny Benassi and France’s Martin Solveig, and team up again with Ray Of Light and Music cohort William Orbit.

Ahead of a standard-format review nearer to MDNA’s release date (26th March), Laurence Green runs through the album track by track…

TRACK BY TRACK

Girl Gone Wild

Kicks off with a spoken word intro – already placing it in classic Madonna territory. It’s that ego-centricness of Confessions On A Dancefloor all over again, but with even louder beats. There’s the slick veneer of the commercial dance number here too, echoing recent Greatest Hits teaser single Celebration. The vocals aren’t Madonna’s best – a defining feature across the album – but when the clubland backing is so explosively loud, that’s hardly a detracting feature. There’s even a persistent energy of sorts to the vocals that, twinned with the buzz-saw synths, firmly establishes Girl Gone Wild as the sound of ‘now’. With its aping of the ‘girls just wanna have some fun’ refrain, there’s a real ’80s sentiment beating at the heart of the track too.

Gang Bang

“If I see that bitch in hell I’m gonna shoot them in the head again” – Madonna’s brawling for some action here, via a filthy, almost Erotica-esque onslaught of breathy vocals. It teases and plays, proper between the covers stuff; which you’d kind of expect from a song with a title as blatantly lewd as Gang Bang. At moments it all sounds like something off Daft Punk’s Tron soundtrack; hard techno, brutal, uncompromising and industrial. Gang Bang feels vital and on point in a way Madonna hasn’t sounded in years. There’s police sirens and an obliging dubstep middle-eight (there was always going to be one on the album, wasn’t there?) – Everything about Gang Bang is menacing and comes on at full-throttle, right down to Madonna’s flippant remark of “I’m going straight to hell”.

I’m Addicted

The burbly techno synths continue here, again it’s all very Tron-esque. If Confessions was dancey, I’m Addicted is dancey with a capital D. The bass positively explodes outwards and it’s refreshing to see Madonna putting out something with real punch. For an artist of her age and experience, she could easily rest on her laurels, and I’m Addicted is about as far away from that as it’s possible to get. Some rave synths get whacked into the mix too, like it’s 1991 all over again – this leads into a hyper-fast outro of the “MDNA!” hook, putting the track forward as a real centrepiece model for the rest of the album.

Turn Up The Radio

This is where the real Madonna melodies of old surface, mining the kind of exuberant stuff that characterised her ’80s greats – that playful spirit is well and truly back. As obvious as its airwaves-courting title might be, this is *the* big radio hit on the album, the kind stations up and down the country will lap up in the summer. There’s an incredible abundance of optimism here, a carefree abandon in thrilling degrees of magnitude. Here Madonna is the American queen triumphant, proclaiming “I wanna go fast and I’m gonna go far” in an up-and-at-em call of readiness for life and anything it chooses to throw at her.

Give Me All Your Luvin

In hindsight, and with the hype and drama of the Superbowl performance behind her, the truth is that Madonna doesn’t really need Nicki Minaj and M.I.A. on the album. In the wider scope of MDNA as a whole, they pale into the background – though to be fair to them, they’re a much better fit than Timbaland and Justin Timberlake were on Hard Candy. Clearly, the aspect of sisterhood combined has something going for it though, and it’s nice to hear Madonna so rejuvenated and youthful here, having some fun and laughs with her ‘hip’ pals.

Some Girls

The first of the five William Orbit tracks on the album, and it kicks off with yet more of the palpably massive levels of bass that mark out the record’s opening tracks. The industrial techno theme is continued too with a massive wedge of robotic treated vocals snaking out across the song. There’s a harking back to the more electronic moments of Music and American Life, everything pumping with the air of Madonna as superior, as the pinnacle of her contemporaries. As with Orbit’s Ray Of Light era productions, the track thrives on a sense of experimentalism that still remains effortlessly commercial at the same time.

Superstar

Ironically, Superstar isn’t one of the William Orbit tracks, but it sure sounds like one. It’s the album’s ‘rock’ track and stands as another prime single candidate. The melody is sublime, the kind of thing long-time Madonna fans have been waiting years for, and released here, it’s like a cleansing burst of pure radiance. Even the slightly shoe-horned in dubstep section can’t detract from the song, it’s that good.

I Don’t Give A

Here, the industrial influences meet hip-hop beats amongst a grinding cacophony of sound and borderline raps from Madonna (though thankfully it never reaches the silly, pretentious levels of the ill-fated American Life single). “I’m gonna live fast, and I’m gonna live life,” she claims, with a sort of wry simplicity, as if that’s all there is to it. It’s probably one of the album’s weaker tracks, stemming chiefly from the fact that – as Hard Candy proved – Madonna just can’t do ‘urban’ (Bedtime Stories excepted). Nicki Minaj pops up again and then the track descends into a weird cod-orchestral outro. It’s regality defined, and Nicki eagerly clamours to hold up Madonna as such: “There’s only one queen, and that’s Madonna, bitch.”

I’m A Sinner

That trademark psychedelic William Orbit sound is out in force here, with crunchy guitar riffs once again suggesting the Ray of Light era. There’s some lovely tinkling, celestially imbued synth bits and tribal sounds going on too. At times, it all feels a bit like Madonna’s about to don her Earth Mother makeover, and by any measure, this is definitely the album’s most religious track as she reels off names of saints.

Love Spent

The opening moments sound akin to the country n’ beats combo of Music’s Don’t Tell Me and while Love Spent takes some time to get going, it’s worth the wait. In the final choruses, everything all comes in at once, backed up by thunderclap beats – as far as firmly defined ‘album tracks’ go, this is a pretty good effort, even if it feels a little by-the-numbers at times.

Masterpiece

Yes, it might be a Madonna ballad of a certain esteemed ‘class’, and yes, it might be on the W.E. soundtrack, but that’s probably where it should have stayed. After the hi-energy pace of the rest of the album, Masterpiece feels out of place.

Falling Free

Compared to Masterpiece, Falling Free makes a far better stab at positioning itself as a ballad that fits into the wider context of MDNA. Echoey piano lines and string sections set up a lovely trippy vibe that shares more than a little in common with the likes of Drowned World/Substitute for Love. Falling Free sounds properly sumptuous; there’s a richness to its production that serves to close the album down as a real assertion of Madonna ‘the artist’. Her vocals here are excellent, both moving and tender in a way that genuinely touches at the heart. Like scented rose petals and jasmine cast loose on water, Falling Free has a rippling beauty to it that is utterly enchanting.

Beautiful Killer

The first of the bonus tracks, and of all the Martin Solveig-produced songs on MDNA, this sounds most stereotypically of his ‘style’. As is often the wont with bonus tracks, Beautiful Killer is pretty disposable, a bog standard clubland floorfiller – but the middle-eight is rather good.

I ****ed Up

A slow grind of swirly synths and guitar that feels restrained from ever becoming properly great because of that really quite cringeworthy title. It’s just one step too far on the crudeness barometer. But as with Beautiful Killer, the pace ups in the closing moments and the song improves with impressive agility. There’s also a neat reference to Sorry as Madonna recycles her “Je suis désolée” line.

B-Day Song

Featuring M.I.A., B-Day Song feels like the obvious counterpoint to Give Me All Your Luvin, with M.I.A. feeling far more at home here than she does on the album-proper. It’s bratty with a Material Girl punkiness to it but the chorus hook is predominantly more annoying than catchy, with only the choppy guitar riffs helping salvage affairs.

Best Friend

Another wary dip into a more urban soundbase, there’s some cute blippy GameBoy-style synths to play with here, but for the most part Best Friend sounds like an unfinished demo or drum machine exercise. There’s a bare boned minimalism to the track that, as with Beautiful Killer, sets it very much out as ‘just’ a bonus track.

In summary, whereas Hard Candy felt like it was grasping at fading trends, MDNA is far more Madonna just being Madonna. And that usually turns out best for everyone involved.

[Sahn]

the times

Madonna punches out younger rivals, not least Lady Gaga, with her new album, argues Will Hodgkinson

A lot rides on Madonna’s new album. Her acting career never took off. W.E., her biopic of Wallis Simpson with the clunky parallels to Madonna’s own life, is a misguided exercise in narcissism. But on MDNA Madonna successfully returns to what she does best: hi-energy disco, as thrilling as it is unhealthy. Central to a 360-degree deal worth a reputed £40 million, the album, which features a host of producers and cameos from Nicki Minaj and M.I.A., sends out a clear message: there can only be one queen of pop.

TRACK BY TRACK

Girl Gone Wild

Produced by Euro dance sensation Marco Benassi, this features a big thumping beat, an ultra-low electro bass, and Madonna’s voice, speeded up and put through a vocoder, carrying a pop song so cheesy it could have fallen off the last Britney Spears album. That’s not a dignified place for a 53-year-old woman to be, but this is one of those creations in which a series of unpleasant ingredients make a tasty meal. With lines like “I don’t want to be like them, I just want to have some fun,” it’s liberating in its meaninglessness.

Gang Bang

An ultra-modern musical setting gives the opportunity for Madonna to don a murderous sexpot persona. Over police sirens and an air of urban malevolence, Madonna lists, in a deadly calm voice, the horrors she will impart on a rival. These include not only shooting him/her in the head, but also going to Hell so she can shoot them all over again. Studying the Kabbalah doesn’t seem to have brought inner peace.

I’m Addicted

Here’s a return to the Madonna of old with a light piece of disco. Giorgio Morodor-style keyboard squiggles come and go, while a rave piano arrives half way through. Madonna sings about love feeling “like a drug, and I can’t get enough”. The Demolition Crew add club-friendly sounds.

Turn up the Radio

This is another dancefloor smash that will go down well at G.A.Y. “There’s a glow of light, calling you to go outside,” she sings, reviving the spirit of classics such as Ray of Light and Like a Prayer. Uplifting, escapist pop.

Give Me All Your Luvin’

As performed at the Super Bowl, with guest vocalists Nicki Minaj and M.I.A acknowledging their debt to the queen by spelling out her name in cheerleader shouts. It’s a great song until M.I.A ends her spot by saying “I don’t give a ****.” She sounds like she had second thoughts halfway through, so it comes out as “I don’t give a shirt.”

Some Girls

Not a Rolling Stones cover but another club tune, this one with odd electronic squiggles from producer William Orbit. She sings about “crying in a limousine”, presumably to reassure us that the rich and famous have problems too.

Superstar

The album’s first electric guitar before Madonna pays her lover a series of compliments. “You’re like Brando on the silver screen,” she says, which any man would like — more than “You’re like Caesar, stepping on to the throne.”

I Don’t Give A

The missing word of the title might well be “fig”, since this is the song in which Madonna comes to terms with the end of her marriage to Guy Ritchie and resulting loss of position in the British upper classes. “I tried to be a good girl, I tried to be the perfect wife,” she claims, before pretty much admitting this is a lie by saying in a robotic voice, “And if I was a failure, I don’t give a … [fig]”

I’m a Sinner

The best song on the album finds Madonna rejecting her Catholic upbringing and claiming that she’s happy to be a sinner. Once the cross goes in, however, it never comes out, and Madonna admits as much: “St Sebastian don’t you cry, let those poison arrows fly.”

Love Spent

This unremarkable disco filler is intended to pad out the album before the glorious climax. The music is boring but the words are intriguing: “You played with my heart, till death do us part, that’s what you said.” Is this an arm outstretched to Guy Ritchie?

Masterpiece

Madonna seems to be reflecting on the sadness of life’s impermanence here, as she sings about nothing being indestructible while admitting that she fell in love with someone’s work, or their masterpiece, rather than the person within. Rather schmaltzy, but with stirring strings, not unpleasant.

Falling Free

MDNA ends with a song of heartbreak that is tinged with cautious optimism. With her best, most natural vocal delivery on the album, Madonna sounds genuinely emotional — rare for her — as she describes a break-up and the bittersweet feeling of freedom its aftermath brings. A classical setting brings all the drama you want from Madonna: she may be strong, but she cries real tears. “We’re both free, free to go,” she sings, dabbing at the corner of her eye with a handkerchief.Madonna punches out younger rivals, not least Lady Gaga, with her new album, argues Will Hodgkinson

A lot rides on Madonna’s new album. Her acting career never took off. W.E., her biopic of Wallis Simpson with the clunky parallels to Madonna’s own life, is a misguided exercise in narcissism. But on MDNA Madonna successfully returns to what she does best: hi-energy disco, as thrilling as it is unhealthy. Central to a 360-degree deal worth a reputed £40 million, the album, which features a host of producers and cameos from Nicki Minaj and M.I.A., sends out a clear message: there can only be one queen of pop.

Girl Gone Wild

Produced by Euro dance sensation Marco Benassi, this features a big thumping beat, an ultra-low electro bass, and Madonna’s voice, speeded up and put through a vocoder, carrying a pop song so cheesy it could have fallen off the last Britney Spears album. That’s not a dignified place for a 53-year-old woman to be, but this is one of those creations in which a series of unpleasant ingredients make a tasty meal. With lines like “I don’t want to be like them, I just want to have some fun,” it’s liberating in its meaninglessness.

Gang Bang

An ultra-modern musical setting gives the opportunity for Madonna to don a murderous sexpot persona. Over police sirens and an air of urban malevolence, Madonna lists, in a deadly calm voice, the horrors she will impart on a rival. These include not only shooting him/her in the head, but also going to Hell so she can shoot them all over again. Studying the Kabbalah doesn’t seem to have brought inner peace.

I’m Addicted

Here’s a return to the Madonna of old with a light piece of disco. Giorgio Morodor-style keyboard squiggles come and go, while a rave piano arrives half way through. Madonna sings about love feeling “like a drug, and I can’t get enough”. The Demolition Crew add club-friendly sounds.

Turn up the Radio

This is another dancefloor smash that will go down well at G.A.Y. “There’s a glow of light, calling you to go outside,” she sings, reviving the spirit of classics such as Ray of Light and Like a Prayer. Uplifting, escapist pop.

Give Me All Your Luvin’

As performed at the Super Bowl, with guest vocalists Nicki Minaj and M.I.A acknowledging their debt to the queen by spelling out her name in cheerleader shouts. It’s a great song until M.I.A ends her spot by saying “I don’t give a ****.” She sounds like she had second thoughts halfway through, so it comes out as “I don’t give a shirt.”

Some Girls

Not a Rolling Stones cover but another club tune, this one with odd electronic squiggles from producer William Orbit. She sings about “crying in a limousine”, presumably to reassure us that the rich and famous have problems too.

Superstar

The album’s first electric guitar before Madonna pays her lover a series of compliments. “You’re like Brando on the silver screen,” she says, which any man would like — more than “You’re like Caesar, stepping on to the throne.”

I Don’t Give A

The missing word of the title might well be “fig”, since this is the song in which Madonna comes to terms with the end of her marriage to Guy Ritchie and resulting loss of position in the British upper classes. “I tried to be a good girl, I tried to be the perfect wife,” she claims, before pretty much admitting this is a lie by saying in a robotic voice, “And if I was a failure, I don’t give a … [fig]”

I’m a Sinner

The best song on the album finds Madonna rejecting her Catholic upbringing and claiming that she’s happy to be a sinner. Once the cross goes in, however, it never comes out, and Madonna admits as much: “St Sebastian don’t you cry, let those poison arrows fly.”

Love Spent

This unremarkable disco filler is intended to pad out the album before the glorious climax. The music is boring but the words are intriguing: “You played with my heart, till death do us part, that’s what you said.” Is this an arm outstretched to Guy Ritchie?

Masterpiece

Madonna seems to be reflecting on the sadness of life’s impermanence here, as she sings about nothing being indestructible while admitting that she fell in love with someone’s work, or their masterpiece, rather than the person within. Rather schmaltzy, but with stirring strings, not unpleasant.

Falling Free

MDNA ends with a song of heartbreak that is tinged with cautious optimism. With her best, most natural vocal delivery on the album, Madonna sounds genuinely emotional — rare for her — as she describes a break-up and the bittersweet feeling of freedom its aftermath brings. A classical setting brings all the drama you want from Madonna: she may be strong, but she cries real tears. “We’re both free, free to go,” she sings, dabbing at the corner of her eye with a handkerchief.

[Sahn]

the independent

With digital technology making it possible to create hits quite acceptably in your spare room, the older studios are feeling the pinch, and keen to find new ways of monetising their profile. Which may be why Abbey Road’s Studio 2, is tonight playing host to a playback of the new Madonna album, MDNA.

She’s opted to work primarily with three co-producers, the Italian Marco “Benny” Benassi, Frenchman Martin Solveig, and Englishman William Orbit – all of them celebrated for their cutting-edge work in electronica. Orbit, of course, has worked with Madonna before, helming the hugely successful Ray Of Light album; but he’s not the only echo of former glories present on MDNA, which at times seems determined to remind one of her previous achievements.

There’s the faint melodic similarity to “Hung Up” in part of “Give Me All Your Luvin’”; the reference to Brando in the obvious hit single “Superstar”, which reminds us of “Vogue”; and the religious undertones of “I’m A Sinner”, with its lines about “Mother Mary, full of grace” and “Jesus Christ up on the cross”, which is like a less complex play with the same themes so brilliantly manipulated in “Like A Prayer”.

Is she, one wonders, bringing the full weight of her CV to bear in re-establishing her pop dominance in the face of inroads made by the likes of Rihanna, Beyoncé and Lady Gaga? Because MDNA represents a determined, no-nonsense restatement of the Madonna brand following the lacklustre Hard Candy, on which her hip-hop collaborators failed to apply their talents as rigorously as they might.

Here, the likes of Solveig and Benassi, for all their parochial successes, are still hungry enough to ensure the zonking great beats and synthesiser riffs are sculpted for maximum propulsion. “Girl Gone Wild” opens the album with a variant on the “girls just wanna have fun” theme, Madonna’s introductory spoken “confession” quickly giving way to a fulsome electro stomper laced with blurry dubstep touches. “Gang Bang” is all too eager to court controversy, its martial beat and twitchy minimal strands of synth hosting the star’s arch commands to “Die, bitch!”. M.I.A. and Nicki Minaj guest on “Give Me All Your Luvin’”, chanting “L! U! V! Madonna!” before contributing babble-raps swamped by the techno pulse.

Minaj reappears on “I Don’t Give A”, like a henchman adding muscle to Madonna’s assertive claims of being the best: “There’s only one queen, and that’s Madonna, bitch!”. Wherever Lady Gaga is, her ears are probably burning.

[Chemist]

Love Spent

[YourMadGesty]

Keep these 'awful' reviews comin' in...

[MrGravey]

http://www.nme.com/blog/index.php?bl...ten&more=1&c=1

So, is the Queen of Pop back on her throne? Just about. We’d pledge our allegiance anyway.

[Chemist]

Originally posted by MrGravey

http://www.nme.com/blog/index.php?bl...ten&more=1&c=1

We’re certainly not mentioning another blonde female artist who also took inspiration from German Industrial on her last album

[NEUTRON]

Originally posted by Chemist

I guess NME caught the Monsters drift.

[Sahn]

nme

The Material Girl returns with her 12th studio album. Is it any cop? Let’s find out....

‘Girl Gone Wild’
Though most will have heard this track already (it’s the second single off the album) it’s worth a recap. Produced by Benny Benassi, Madonna intros with a spoken word segment about how she wants "so badly to be good". As the album plays through, the strangeness of the single's choice will become more apparent. ‘Girl Gone Wild’ does little to set the listener up for what’s about to come next.
‘Gang Bang’
With an intro consisting of a revving engine and a solid four-to-the-floor beat, ‘Gang Bang’ is Madge Gone Industrial. We’re certainly not mentioning another blonde female artist who also took inspiration from German Industrial on her last album, but we’re in the same ball park. It’s exciting. Madonna’s ditched the faux English accent and the mood is tense. It feels like something's about to snap as she declares “You were building my coffin/ you were driving my hearse". Ubiquitous Dubstep wobble aside, the track tails off into a wonderful 'Faster Kill Pussycat' segment, with Madge singing “Drive bitch and while you're at it die bitch!”
‘I’m Addicted’
Electronic ripples open the track into something that sounds like ‘Momma's Place’-era Roisin Murphy. There are some nudging references to Killer Rave Drugs as Madonna sings "It's like MDMA and that's OK". There’s another dubsteppy breakdown that ends with her chanting "MDNA" over an electro explosion. We can't wait to see this live.
‘Turn Up the Radio’
This is the first of the six Martin Solveig-produced tracks on the album(including the bonus tracks). There’s a Dragonette style vocal and lyrics about music helping you to forget your woes. It’s quite sweet, and leads nicely into the next track...
‘Give Me All Your Luvin’’
...which is still amazing.
‘Some Girls’
The first William Orbit cut (of five). Direct and bitchy, Madonna’s vocals are treated and hidden beneath a heavy bass. It’s a mid-tempo track with a chorus of "Some girls are not like me / I never want to be like some girls".
‘Superstar’
This track feels a bit lightweight amongst the others. There’s a Katy Perry vibe. The "Oh la la you're my superstar" chorus seems like a incongruous filler with the cheeky cringey teen lyrics: "You're like Abe Lincoln because you fight for what's right". Maybe Lourdes helped her with this one?
‘I Don’t Give A’
Lyrically, this is a list of all the things that Madonna has to do: "Message manager no time for a manicure". It avoids turning into ‘American Life’ thanks to Madonna letting a little bit of her guard down: "I tried to be a good girl I tried to be your wife". Nicki Minaj's guest spot is relaxed and ends with the immortal line: "There's only one queen and that's Madonna, bitch".
‘I’m A Sinner’
A psychy track that feels like a mix of Peaches and Martha And The Vandellas. It sounds fresh, and tongue firmly in cheek Madonna lists some saints over a "Wo-oh-ah" backing vocal.
‘Love Spent’
Though ‘Love Spent’ could come across as a kind of 'Exquisite Corpse' of a track (banjo intro, then violins, then spoken word) it’s really brilliant. Madonna channels ABBA-level spousal hurt as she sings "Hold me like your money, tell me that you want me, spend your love on me".
‘Masterpiece’
The track from W.E. It sounds a bit zzzz here to be honest.
‘Falling Free’
Elegant and classy, the warped piano sounds of the final track on the album proper is a fitting end. This icy ballad fits far better than ‘Masterpiece’ as Madonna addresses a problem she wishes she could forget: "When I move a certain way I feel an ache I've kept at bay".
‘Beautiful Killer’
Yep, you guessed it: beautiful filler, more like. (Give Me All Your Luvin' Superbowl Performance)
‘I ****ed Up’
It’s strange that this didn’t make it onto the main CD. This is the track that most critics have pegged to be about Guy Ritchie. Aside from the token French interlude, this is understated and excellent, and could easily have replaced ‘Masterpiece’.
‘B-Day Song’
M.I.A. makes an appearance on this 60s-influenced Solveig track. Though there’s a line about how Madonna likes to spend her birthdays ("Give me a spanking start the day off right") it’s clear why this isn’t a main track.
'Best Friend’
Madonna lists things she misses in her partner. It sounds a bit like a vocodorized Max Martin track, which would normally be amazing, but in these circumstances, it doesn’t really fit.

So, is the Queen of Pop back on her throne? Just about. We’d pledge our allegiance anyway.

[apple]

[Monroe]

Why is Madonna the only artist who gets all these track by track reviews?

[Nicole]

Excellent reviews so far.