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Rolling Stone Review

Madonna Teams With Maluma for Sultry New ‘Madame X’ Song ‘Medellin’

 

https://www.rollingstone.com/music/music-news/madonna-new-song-maluma-medellin-madame-x-823420/

Pop icon details new LP Madame X, featuring Quavo, Swae Lee, more

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Madonna released her new single Medellín and the reviews are mostly positive!

A sultry and promising introduction to Madonna’s latest era – VARIETY

A potent reminder of Madonna’s deft history of meshing genres and a convincing addition to the roll call of western megastars linking up with Spanish-language artists – THE GUARDIAN

As far as the pop icon’s semi-recent cool-hunting exploits go, the song sits closer to the top of the heap than the bottom – PITCHFORK

A sultry midtempo track driven by a decidedly unhurried tropical rhythm and Madonna’s catchy refrain of “one-two cha-cha-cha.” – SLANT

The song moves effortlessly between a sparse, understated verse and a brilliant chorus bursting with deep house euphoria. – ROLLING STONE

It’s a relief to see Madonna take a risk again, on a previously unexplored genre. – iNEWS

The track is everything we want from a Madonna comeback: it’s fresh, (arguably her best work in years) and sets the tone for a brand new era – NME

A breezy, summer-ready anthem – ENTERTAINMENT WEEKLY

The mid-tempo banger is a reggaeton-infused, oddball delight – IDOLATOR

Madonna returns to the throne with first new single in four years “Medellín” – CONSEQUENCE OF SOUND

“Medellín” is effectively a more mature, modern continuation of “La Isla Bonita”; a nostalgic escape, drink in hand, sexy slab of Colombian beef at her side – MUUMUSE 

A spicy tropical banger – CLASH MUSIC 

A carefully dosed combination of coolly narcotic dance-pop – NPR

Of course, you always need at least one party pooper…
One of the worst singles in a career filled with so many memorable ones – NY POST

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‪Medellín review from Vulture:  “Medellin” is “La Isla Bonita” for 2019, not just a reminder that Madonna was the pioneer of every flavor of pop, but that she can compete with the hottest of the moment.‬
‪https://www.vulture.com/article/best-new-music-2019.html‬

 

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I got this off another forum it is from the French magazine Têtu, sounds so good!

In recent weeks, the record industry was rumored to be rumored.  We were talking about an album of featurings, a disco disc, a return to the sound of Music. It is not so.  Certainly, there are some rappers on the album like Quavo or Colombian Maluma.  But the star is struggling to bring pop music to new territories: fado, reggaeton, dancehall. We hear a crazy song, as if Daft Punk remixed Queen's Bohemian Rhapsody (Dark Ballet), jazzy pianos and sick vocodors (God Control),  implacable reggaeton sung in Portuguese (Faz Gostoso). 

There is only one title on the album that recalls the Madonna before (Crazy). Madame X is above all a call to revolt and control of firearms, a manifesto for the rights of minorities (I Rise) and solidarity (Killers who are Partying).

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Idolator.com:

Quote

"Produced by Mike Dean and Billboard, the Swae Lee-assisted track is a sexy, mid-tempo groove. And if radio didn’t ignore Madonna’s entire existence, it would sound perfect on pop and rhythmic formats."

NME.com:

Quote

"Placing Madonna’s other two singles side by side – the Latin pop channelling ‘Medellin’ and orchestral smoulderer ‘I Rise’ – and they don’t give much away about the overall direction of  ‘Madame X’. That’s only confounded by this: a breezy, low-key moment which nods vaguely back towards the heartbreak of her 1989 album ‘Like A Prayer’, and yet sounds nothing like it."

Themusicalhype.com:

Quote

"Honestly, she just doesn’t sound particularly inspired.  Hard to be inspired by the uninspiring, right? Right"

SPIN.com:

Quote

"Titled “Crave,” the track follows her recent singles “Medellín” and “I Rise,” and arrives with a guest verse from Rae Sremmurd rapper Swae Lee. The combination might sound out of character, but feels surprisingly fitting for the Mike Dean-produced acoustic-trap single."

Abitofpopmusic.com

Quote

"The main hook is excellent! “You’re the one I crave and my cravings get dangerous. The feelings never fade, I don’t think we should play with this”, Madonna sings over the laidback beat in a seductive melody. Madonna shows off she can still do contemporary without sounding like she is trying too hard. A tune and a half!"

 

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I like how, even in spite of all the endless bitching from fans, Medellin got great reviews (the one negative review is from a rightwing rag) and Crave also seemed well received. That's because many fans come to the songs with a sense of entitlement and a "herp derp where's my disco herp derp eww features herp derp eww colored people eww herp derp eww autotune" mindset whereas music critics tend to look at the songs more for what they are.

I reckon the album will get good reviews and fans will continue to bitch. It's the circle of life.

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Rolling Stone review transcribed:

3/5 Stars

MADONNA GOES LOCA
Her latest is one of her weirdest, befitting a pop queen who loves taking risks.

Madonna albums from this century fall into two categories: the playing-it-safe ones, and the "WTF is she thinking?" ones. You might be tempted to assume the mega-weird ones are better, but nothing is ever that straightforward in the Madonna universe. Confessions on a Dance Floor was her totally safe execution of an obvious idea - why doesn't history's greatest disco mastermind just make a damn disco record? - but it was also brilliant. Whereas the certifiably flaky American Life was certifiably ass. That's just one of the many reasons Madonna remains the queen of all pop queens. 

Yet Madame X is so admirably bizarre, all you can do is stand back and watch the girl go. "It's a weird kind of energy," as she sings in "God Control" - a rare moment of Madonna understatement. She dips into a melting pot of Latin-pop styles, complete with a reggaeton jam called "Bitch I'm Loca." It's for fans of her loca edge only, full of experiments no other pop star on Earth would try.

She teamed up with Colombian superstar Maluma for the scandal-bait single "Medellin," learning to cha-cha-cha in her mysterious new accent. There's a lot more where "Medellin" came from. Like a vocoder singing The Nutcracker in "Dark Ballet." Or the moment where she chants, "People think that I'm insane/The only gun is in my brain/Each new birth, it gives me hope/That's why I don't smoke that dope." She throws down with Quavo, Diplo and Rae Sremmurd's Swae Lee.

Weirdest of all, there are truly great Madonna moments. Especially "Crave," a love song with florid acoustic guitar where she plays down the accent and gets lost in emotion, or the trip-hop "Crazy." But with her typical nerve, she buries the strongest songs deep in Madame X. To reach them, you have to endure "Killers Who Are Partying," where she ponders political oppression: "I'll be Islam if Islam is hated/I'll be Israel if they're incarcerated."

There's something gratifying about the way the music can trigger that familiar "worried about Madonna" feeling. Let's face it, aren't we proud of our Eighties mega-pop idols for still being willing to act up like this? Imagine going back in time to the Eighties and saying, "Someday Madonna will chant 'Bitch, I'm loca' the same week Bruce Springsteen releases his concept album about horses." These two legends never let us down, in their very different ways. Time will tell if Madame X has staying power or not. But if you love Madonna for her shamelessness - bitch, she's loca.

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Funny that the reviewer is the most critical about Killers, which seems to be the song that fans are the most excited about. :laughing:

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