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Levitating (Feat. Madonna & Missy Elliot) : OUT NOW!


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Madonna should work with Blessed Madonna and Honey Dijon on her next album. An all female project. If she added Miss Kittin to it, it would be bliss. There are really great female dj /producers out there like Nancy Whang or Marie Davidson. But we'd probably get Tracy fucking Young. 

I wish we had an extended version of Levitating. It's too short !

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15 minutes ago, Roland Barthes said:

Madonna should work with Blessed Madonna and Honey Dijon on her next album. An all female project. If she added Miss Kittin to it, it would be bliss. There are really great female dj /producers out there like Nancy Wang or Marie Davidson. But we'd probably get Tracy fucking Young. 

I wish we had an extended version of Levitating. It's too short !

Honey Dijon is a great DJ but her production work is uninspiring and lacking any creativity. So no thx ;)

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8 hours ago, A500 said:

Why a lot of you are so attacking Dua Lipa all the times ? She is a new young artist, she loves Madonna, she has said several times that she genuinely loves her. Why attacking her? Her cd was one of the best one of 2020 together with the new Alanis Morissette one.

I won't speak for others, but I've been critical of her for the entire Future Nostalgia era for a number of reasons, the main one being that the entire album is just a regurgitation of what every other dance pop artist has released since the dawn of time. In terms of my dragging her hard over this remix in particular:

1. I don't like the remix. The original song isn't my cup of tea either, but at least it's more digestible and less desperate. This remix was Dua's attempt to milk the album one last time in the same sense that her new remix album is a way to milk the Future Nostalgia era.

2. I don't care that she kisses Madge's ass, it doesn't mean that I have to like her, especially when she's just the newest Madonna wannabe, except with less charisma and far less dancing talent than some of the previous ones that we've tolerated. An artist liking Madge is nice, but some of us have minds of our own and we don't need validation from other artists.

3. I don't agree that Future Nostalgia is some work of art despite what every gay on ATRL or any other fan forum would have us believe; like I said before, to me her album's a rehash of musical themes that everyone and their mother has done before in better ways. And I don't give a damn about its 88/100 Metacritic score - I don't praise albums just because they're critical darlings.

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3 hours ago, Nahual said:

3. I don't agree that Future Nostalgia is some work of art despite what every gay on ATRL or any other fan forum would have us believe; like I said before, to me her album's a rehash of musical themes that everyone and their mother has done before in better ways. And I don't give a damn about its 88/100 Metacritic score - I don't praise albums just because they're critical darlings.

I agree 100%. She's faaaaaaaaaaaar from great. She's ok.

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I find the remix tolerable, minus the rap and I used to be a huge Missy fan. It’s a catchy little remix for what it is. Like her miserable American Life remix and the Gap commercial collaboration nonsense, Missy phoned in but she gets away with it. Then M goes and makes a bunch of songs with Timbaland for an actual album and Missy was nowhere to be found. 

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I've just listened to the whole remix album that has just dropped... sounds messy, it goes in 20 differents directions most of the songs... two tracks are good in my opinion, the Levitating remix with Madonna (and not because M is on it), although the version on the albim sounds different than the single, sounds less catchy, slowlier, the intro is also different, with disco elements... i prefer the single version. The other track that is good is "Love again" horse meat disco remix. Thah one is really good, that funky disco beat is really hot and i would have loved for Madonna to be on that one as well.

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Review: Dua Lipa, with some help and inspiration from Madonna, revives the remix album

Dua Lipa’s new album, “Club Future Nostalgia,” calls to mind Madonna’s greatest-hits club comp “The Immaculate Collection.”

Dua Lipa didn’t need to put a song called “Love Is Religion” on her new remix album to conjure memories of Madonna.

For one thing, the English pop singer teamed with the Blessed Madonna, a widely respected DJ known for her soulful-brainy dance music, to rework the songs from Lipa’s excellent 2020 LP “Future Nostalgia.” Also: Madonna herself appears in a fresh take on “Levitating,” one of several high-profile guest stars (along with Missy Elliott and Gwen Stefani) that demonstrate the 25-year-old Lipa’s speedy ascent to pop’s upper ranks.

Even minus all that, though, “Club Future Nostalgia” calls to mind “The Immaculate Collection”: Like that 1990 classic — a greatest-hits comp sliced and diced by Madonna and producer Shep Pettibone to resemble a killer club set — Lipa’s record uses carefully designed pop tunes as raw material for a breathless new creation.

Thought “Kiss and Make Up” was good as a throbbing collaboration with K-pop girl group Blackpink? Check out the women’s swaggering vocals laid over the indelible bass lick from Herb Alpert’s “Rise,” as it is here. It’s a clever redo as thorough — and as funky — as Pettibone’s house-inspired version of “Express Yourself.”

The difference is that 30 years after Madonna trained us to think of female pop stars in terms of personal narrative, Lipa stands alone among her contemporaries as an artist whose music says little about her celebrity. Nobody listens to Lipa to get the latest on some feud or another; nobody scours her records for revelations about her ex-boyfriends.

What do we even know about Dua Lipa — or Dula Peep, as many of her fans call her (after Wendy Williams famously mangled the singer’s name on her talk show)? The hot gossip could fill a page or two, compared to the reams for Taylor Swift or Lady Gaga or Katy Perry.

That might mean she’s less than thrilling on social media, but Lipa — named best new artist at the Grammy Awards in 2019 — can get away with it because she’s a magnificent singer, with a low, smoky voice that’s always suggesting she knows more than she’s letting on. If you missed it, go back to the appearance she made this year on a remix of “Sugar” by the boy band Brockhampton; she sounds like Anne Bancroft in “The Graduate.”

Her singing is just as vivid on “Club Future Nostalgia.” Plenty of pop acts, including Gaga and Doja Cat, have been looking back recently to the glory days of disco — a curious development at a moment when actual dancing in actual clubs is more or less out of the question thanks to the COVID-19 pandemic.

Yet Lipa’s dance-floor excursion plays better than the rest because it’s so single-mindedly devoted to the job at hand; you’re never distracted from the beats to ponder the vagaries of her personal life.

And the beats are consistently banging. With help from a varied assortment of DJs and producers — from Top 40 regulars like Mark Ronson and Stuart Price to esteemed veterans such as Larry Heard and Masters at Work — Lipa and the Blessed Madonna blend more than a dozen tracks into a nearly hour-long megamix that keeps reframing Lipa’s voice: warm and playful in “Good in Bed,” sensual yet longing in “Pretty Please,” colder and more aggressive in “Hallucinate.”

The cameos by Lipa’s predecessors are fun, never more so than when Elliott instructs some dude in “Levitating” to “suck my breasts like Betty Boop.” In the same song, Madonna goes all ray-of-light mystical about energy written in the stars, while Stefani lends her panting coo to an updated “Physical.”

But the singer gets more mileage out of weaving snippets of old tunes among her own. When Stevie Nicks shows up out of nowhere to chant the staticky chorus of “Stand Back,” you’re reminded of how a great song always finds life outside its immediate context.

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