The Madness of Madame X

Madame X (2019)

1. "Medellin" (feat. Maluma)
Starting things off on this majestic adventure of foreign festivities and Spanish infused pop is Madonna's lead single featuring rising Latin superstar, Maluma.  Named after the starring city of Coloumbia, "Medellin" sees the relentless, multi generational icon "cha cha"-ing her way into Maluma's heart with a spellbinding melody and hip swaying beat that seems determined to get you moving.  But unfortunately, as the lead single off the album, not to mentioned as the album opener, "Medellin" falls flat.  The song is mediocre at best, feeling like a trend jumping single used to capitalize on the rising Latin music genre taking over the USA this past year or so.  Not that old Madge and the charming heartthrob Maluma don't have any chemistry, it's just the song feels very awkward at parts; like at the beginning with Madonna's jarring and almost laughable "cha cha" instructions; almost as if she was trying too hard to put her spin on the Cuban based dance that doesn't feel authentic or sexy.  Fortunately, as first singles tho, Madonna has done faaarrr worse ("American Life", anyone??? O_O)  The song does have it's infectious moments but the flaws just outweigh the potential of this really making a HUGE splash mainstream wise.  Danceable for sure, but not a Madonna track you'll be clinging to for the years to come.
(C-)


2. "Dark Ballet"
I have to honestly say...I didn't like "Dark Ballet...at first! I have to say when I first heard the song, accompanied by the truly gruesome, surreal and harsh looking video...I just couldn't get into it.  The video itself is quite the morbid and masterful piece of art that I just take my eyes off of.  It was like watching a train wreck...yet....a train-wreck with purpose.  The video is a powerful and intense reflection of today's hatred and atrocities told through the eyes of Queer activist/LGBTQ musician, Mykkie Blanco as the infamous French solider, Joan of Arc as she is captured, persecuted, mocked by a room full of demonic, malicious looking priest...then burnt into stake.  The visuals are so chilling and hard to watch, yet both song and video both emphasize that the changing times have all but stay the same in so many retrospects.  The fact that a 15th Century warrior and a black HIV positive gay man are facing the same kind of hatred and injustice hundreds of years apart in almost the exact same way is truly remarkable storytelling as well as showing the darkness that STILL lives within humanity.  "Dark Ballet" starts off so hopeful and positive before the heavy beat drops that leads into an almost absurd but frightening rendition of "Nutcracker" theme laced with electronically processed vocals that express the haunting neglect and dissonance of not only the song but of the inspiring narrative Madonna delivers with a confident charm that only that signature voice of hers could recite. It all ends with a devastating final line as Madonna continues to blow air into the wind....maybe to blow out the fire that has consumed not only Joan of Arc/Mykke Blanco...but even us...??? INCREDIBLY moving and thought provoking for sure. :)
(A+)


3. "God Control"
One the things you either LOVE or absolutely LOATHE about Madonna is her ability to take a very pressing and controversial topic in modern day life but using it to further her own agenda...aka her art to put her spin on how said subject should be expressed, challenged or even celebrated.  In recent years, the only thing Madonna has seemed to muster up in that sense is Rebel Heart's "Illuminati" and very stomach churning "Holy Water".....nothing more on the latter quite frankly.  But what amazes me is...."God Control"...Madonna's own twisted and otherworldly take on America's current gun control issue given the unprecedented increase in mass shootings could have very well followed suit like the rest of her misguided attempts to remain edgy and boundary pushing like her glory days when she did it strikingly with mixed results.  Yet..."God Control" could very well be one of her greatest late career achievements as the track itself is beyond bizarre, truly mortifying at times but encapsulates the musical insanity that apparently still runs through old Madge's veins.  Starting out as a very chilling, muffled solo by Madonna herself before being taken over by a thunderous gospel choir that seamlessly transitions into a infectious disco beat accompanied by a chilling gun shots and an announcer straight out of some horror movie sequence.  Through a bizarre and random delivery of lyrics like "People think that I'm insane/Only gun is in my brain/Each new breath gives me hope/That's why I don't work that dope" and "I'm a Democracy!" Not to mention a haunting whsiper of "Everybody knows the damn truth". While many would call this constant shift in tone a 6 minute length tracck...I truly find it remarkably creative and incredibly enlightening in terms of how Madonna is deplaying her opinion on this country's lack of urgency to make guns harder to land in the hands of these numerous psychopaths out for blood.  Whether  you like it or not, that last sequence of both that ear dominating disco beat added by the returning gospel choir before Madonna's frightening "Wake Up!" echoes to a close..."God Control" is the Material Girl at her unapologetic and artistic best! Be warned! O_O :)
(A+)


4. "Future" (feat. Quavo)
One of the recent numerous singles released before the album's arrival, "Future", with a heavy autotuned assist by trap artist Quavo, Madonna sings through an electronic reggae fused beat.  I have to say, the production for the song is very polished and I absolutely love the incorporation of such instruments like those beautiful horns that come in periodically throughout but honestly not enough, as it effortlessly enhances the authenticity of the song's Caribbean roots.  While "Future" is a contemporary tune and one of the most radio friendly songs on the album, it's just a shame that Madonna's oddly processed vocals come off strange and unlike her own.  I remember hearing the song for the first time several weeks ago and feeling like this was some lost Rihanna track.  It's almost like in an effort to make Madonna sound more "now", Mirawis had forgotten how iconic and recognizable her voice can be. It just makes aspects of the song distracting to me, especially when rapper Quavo seems more at home here and delivers some of his most interesting verses; the very religious one at the end being the most intriguing and memorable.  Not a bad song by any means, as the melody is extremely catchy and lyrics as well as message are very palpable to listeners.  But it's nothing really unique about it but a very passable track none the less.
(B-)


5. "Batuka"
A song that once again caught me off guard while first listening to this often times phenomenally odd record, "Batuka" (which means young Brahmin in Indian) has Madonna in a call and chant or rather respond sequence where she sings (once again, in a very autotuned produced vocal) to a group of tribal women who bang and perform an almost ritualistic type of track.  While the album can get very jarring with the over use and rather unnecessary at time mechanized vocals, it surprisingly works here...for at least anyway.  We haven't really heard Madonna in this fashion before, once again, exploring a genre of music that maybe foreign and strange to her listeners but shows how even as 60, the pop culture mainstay STILL isn't afraid to take risks and once that tribal anthem turns into an electronic trap beat....WOW! :) Once again, a wonderful production that forces listeners to take note whether they like it or not and I honestly can't get enough of it.  Stellar cultural brilliance! :)
(A)  


6. "Killers Who Are Partying"
In making an album as bold and as experimental at this one, there are going to be some missteps along the way.  Case and point, Madonna's 2003 disastrous release, "American Life" (ironically enough, produced by musical mastermind of this album, Mirawis) saw a very divided trend of acoustic quality and electronic nightmares depending on which track so happened to be next. "Killers Who Are Partying" seems like one of those tracks that summarizes my thoughts on that album: very well intended but poor execution overall. The production itself isn't bad by any means; in fact, the Portugese villa theme of those beautiful guitar strings that morph into a hypnotic dance beat is rather spine chilling as well as leaves your body surrendering to the seamless rhythmic flow of the song.  Where the song is seriously lacking tho, are not the lyrics themselves but how Madonna is singing them.  Like some foreign singer making some kind of parody of her plight to represent the various disenfranchised of the world from "the gay" (seriously??? O_o) to the Islamic.  Once again, the music soars on the merits of Mirawis' excellent shifting of tones and pace throughout but it seems writers, Ciccone and Ahmadzai, give Madonna a mouthful with poor direction as her delivery of "I will be a woman/If she's raped/And her heart? Is breaking!" is sooooo cringe inducing.  I'm not surprised why fans and critics are rather harsh or very divisive on this specific track as it just feels disjointed and often times forced despite a solid production.  It makes Madonna look quite amateurish as a singer or feeling too foreign to point of loosing her own identity and spin on such a social conscious track. Oh well...only a minor misstep so far.
(D+)


7. "Crave" (feat. Swae Lee)
Another mainstream single released from the album, "Crave" is sweet and smoldering with vulnerability as Madonna teams up with Rae Strummend's Swae Lee for what is being called a trap ballad and I think it is rather superb if you as me.  Madonna gives a strong vocal performance, which is one of the few moments on the album where she sounds like herself and NOT like special effect.  The song is relatable and while unremarkable, feels genuine and the melody is very beautiful at times, especially that roaring guitar solo that truly feels like the icing on the cake of an overall splendid track.  The video is also a visual treasure in it's black and white but gritty simplicity of New York brownstone towering buildings.  It's definitely my favorite of the singles from the album as it may have been sung by any old singer in the lead vocals, but Madonna makes a good enough impression here to give the song some emotion that feels memorable and lyrics that fit the album's thematic presence as well.  Not bad at all! :)

(A-)

8. "Crazy"

You know what I really enjoy about this track? Despite the somber lyrics and melancholy tone, Madonna's vocals are left alone again and are left to shine for once.  Once again, the instrumentation is unique and breathtaking, especially that accordion melody in the beginning before the song erupts into a Motown/Blues doo woop sway.  It just makes the song feel more soulful and unprecedented in a genre that has all been forgotten all too often.  Also, with Madonna's actual vocals on display, she really sells some the grit and soul bearing moments this song needs to work.  Look no further than he shockingly solid delivery  of "I bend knees for you like a prayer/My God look at me now!" Wow! O_O I had NO idea Madonna had that in her!  She definitely was feeling this song in that she is singing of a relationship where she is at a disillusion of a lover who stretches her sanity to her limit obviously. Also, the Spanish lyricism incorporated is a nice touch, continuing the overall Latin feel of the record but the song maintaining it's own feel but contributing something new to the narrative flowing throughout. Awesome!

(B+)

9. "Come Alive"

Honestly, I'm really shocked that Madonna really is delivering songs that seem so new and refreshing to her as an artist.  "Come Alive" with its immediately infectious beat just does something to by body I can't express and that's exactly what music was made for.  I love this all encompassing ethereal and calming presence this song has on me not just because of it's harmonious melody but how those striking horns come in and that heavenly choir comes in toward the end to truly deliver the power and beauty that exudes from every inch of the production.  The only crime here is the song is too short for me!  It's very reminiscent of her enlightened "Ray of Light" work; a hopeful track that sends a sensation of looking forward to something greater and giving you a heartfelt look inside yourself because of it. :) One of my favorites from the album by far! 

(A)

10. "Extreme Occident"

Isn't it funny how Madonna, even almost 40 years into her career, that Madonna STILL feels the need to accurately detail her journey throughout her life???  "Extreme Occident", the latter word expressing countries in the far west, is yet another autobiographical piece but this time done in a fashion of a foreign film type production where she feels as well as admits she felt lost but in fact "she wasn't lost".  I love the different textures to the song in it's instrumentation; as usual we get piano melody as well as somber guitar solo with instruments with origins from the west as well.  Unlike say "Killers Who Are Partying", "Extreme Occident" works MUCH better; feeling like a storytelling song that drowns itself with significant clarity in Madonna's mission to show how the unknown is daunting and terrifying but its one that continues to enlighten her even now in her life.  NOT one of my favorites, but definitely a track that works well with what the album is trying to convey through its experimentation with Latin influences and beyond! :)

(C+)

11. "Faz Gostoso" (feat. Anitta)

At track 11, it's hard to realize that there really hasn't been a banger on this album so far? O_O A song purely made for a festive ride of dance ridden grooves that not only get the party started but keep it going to get everyone else on the floor; ready to move! Well...here comes "Faz Gostoso"!  An undeniably floor crowding anthem, Madonna joins forces with Brazilian superstar, Anitta, for her own rendition of one of the country's most beloved songs by Blaya...and I got to say, I kind of prefer Madonna's version of song as she adds her own flava to the song but it feeling very authentic to the energy and spirit of the original.  Sure, Anitta doesn't add much to the song during her solo verse but I got to admit, both her and Madonna really sound great together funny enough!  Once again, I had no idea Madonna had in her to sing a song like this with the infectious, rapid fire delivery and overwhelming energy this song needs to work.  She really rises to the occasion; making the song sexy and contagious in how it just goes and has such a relentless melody that you can't help but move to.  Not trendsetting but completely great for a nightout at the club as well as the right song to get the party going all night long. Masterful reworking of a classic! :)

(A+)

12. "B!tch I'm Loca" (feat. Maluma)

From Brazil to the streets of Latin America as once again Madonna and Maluma heat things up with this reggeaton that finds both a lot more lighthreated and cheeky on this song than their first collaboration with the album's leading single.  Which is a nice change of pace as I'm still not a big fan of "Medellin"; feeling generic and Madonna in particular feeling mostly detached from the song itself with her pitiful "1, 2, cha cha" instructions still making me feel like skipping to "Dark Ballet" sometimes.  Let's be honest, "B!tch I'm Loca" isn't groundbreaking or innovative in the least but it works more like a comedic track that once again takes a break from the serious latin arc that proceeds the album.  Of course, it also helps that Madonna and Maluma's chemistry is quite hilarious yet charming at the same time.  Even the song borderline graphic ending is made sincere and kinda sweet with Maluma kindly asking "So where do you want me to put this?" to which Madonna answers "Ummm...you can out it inside." to Maluma's almost child-like laughter in response.  Lol It wouldn't be a Madonna album without just a hint of shock value to keep her listeners talking. ;)

(B)

13. "I Don't Search I Find"

Madame X is truly an album FULL of surprises to the point that I really can't imagine what it was like being a fly on the wall during the rigorous studio sessions that took place between Lisbon and London from late 2017 til late 2018.  Often times, the album feels like something fresh and new while using Madonna's legacy of musical re-inventions from previous albums to remind listeners, both old and new, how she use to excel at being musical chameleon.  "I Don't Search I Find"....feels....so misplaced in the best possible way!  It doesn't make sense for be on this album yet narrative is made even stronger by how seamless it comes into it.  Feeling like a throwback from her Erotica era work, "I Don't Search I Find" returns 90's house music into the new millennium with a sense of confidence and style that it just feels so natural alongside 2019's contemporary pop.  It amazes me how Madonna can recreate her youthful sounding dominatrix voice aka Mistress Dina as she rides a euphoric dance beat that feels like a lost cut before Bedtime Stories saw the light of day in the mid-90s. It's an incredible reminder of where she's been and how no one does it better when it comes to a genre she has perfected.  An unforeseen and stunning moment from this already mesmerizing yet absurd album. 

(A+)

14. "Looking For Mercy"

One thing I love about this song how ominous it starts off before brings us of impending tragedy and outright misery throughout it.  It's a very cinematic track in the same vein of her Ray of Light but shows a new side of Madonna's vulnerability.  I actually can see this song being a single with a video that could or would put viewers into a tear inducing frenzy.  It's really a heartbreaking track as Madonna sings with no help for her autotuned loving producers to take away from the emotional resonance that is being built.  Madonna and her team of writers as well as producers Bhasker and Dean should be commended for making a song with such depth but it's a shame this isn't on the standard edition of the album as I am reviewing the deluxe version.  It's definitely a highlight for me and has a presence to it that will be left with you long after the last track begins playing.  Speaking of that....

(B+) 

15. " I Rise"

We have our final track of the album and while it was released alongside the other 4 pre-released singles from the album, "I Rise" still doesn't make for best finale to a Madonna album.  Though there have been faaarrr worse ("Love Makes The World Go Round" just NEEDED to NOT happen -_-) .  Don't get me wrong, "I Rise" is a fine political anthem, echoing out the frustrating and pain given by millennial generation plagued by mass shooting, unrealistic labels and unjustified forms of socioeconomic views.  While the sampling of Emma González's pro-gun control speech was a great idea, the song quickly fizzles out than rising (I know!) to the occasion of the statement it is profoundly trying to make. I guess all I can say is I'm glad Madonna chose to end the album on a hopeful note but this is NO "Come Alive" for me in spirit and production. An decent melody, passable lyrics and strong message just equals out to an above average affair that closes out this pretty incredible up and down music voyage.
(B)

Sometimes I wonder, what could Madonna have more to say or even sing about in her career?  The pop legend has recently turned 60 and released 13 studio albums to her name throughout 4 decades.  She's covered it all: religion, sex, war, discrimination, activism, fashion, etc. that at this point, you would think "It's been done hun, just retire!"  Especially given that her last few albums have been some of her weakest work.  It all began with 2008's Hard Candy, a pretty good but shallow representation of Madonna taking a backseat to Timabaland and Pharell Williams' hotter than now productions at the time.  Then you had her follow-up, "MDNA", in 2012, a harsh and try-too-hard EDM mixed bag hindered by Madonna's apparent dividing interests during the recording process; not to mention being her first record since her divorce from Guy Ritche.  Then you had her most recent release prior to this, "Rebel Heart", a concept album based on her duality of the rebellious pop star and the enduring woman behind the fame.  While some thought it was mostly another attempt at staying "trendy" among the social media dominating youth, some thought it had some of her best work in years.  I thought the album was quite good, for a contemporary pop album, but of course, comparing to her masterworks such as "Ray of Light" or "Confessions..." would be pointless.  While "Rebel Heart" was an overall success in terms of quality, it still didn't quite live up to her expectations of the genre making innovator she had been for the last 30 years at that point.  When it came to Madonna, no one was pushing boundaries further i pop music than she was with her unapologetic visuals and jaw dropping lyricism.  But "Rebel Heart" seemed like that was the best she could do at this point in her career and new of follow-up weren't getting people very excited.  Madonna had teased a small verse from the upcoming album with "Beautiful Game" at the Met Gala on May of last year but it seemed the process and news of the album had all but halted....until the massive campaign of Madame X was revealed only a 2 months ago.  In those two months, we got an album title, release date for said album and 5 back to back singles with 4 accompanying videos.  The songs/videos themselves were a mixed bag for most fans and critics.  "Medellin" featuring Colombian superstar Maluma seemed jarring to most but a nice Latin escapism for some.  "Crave" immediately came after and was a nice song as well as video that captured the vulnerability and simplicity of the song's message,  "Future", featuring Quavo, was soon released as well but seemed more mainstream than anything else so far.  But it wasn't until the powerfully dark and haunting visuals of "Dark Ballet" that people began to realize this was just some run of the mill Madonna album like the previous.  The Mykki Blanco starring video saw the controversial DJ playing the role of Joan of Arc in a terrifying reflection of modern day hatred and stigmatized social views.  Honestly, most were still convinced the album would be nothing more than a failed attempt by Madonna to stay relevant in the pop world as usual...and yet....Madame X, despite what it may have seemed like in the coming days of its release...turned out to be one of Madonna's most surprising entries in her discography in nearly 15 years.  I can't describe to you how boldly bizarre and truly unpredictable the actual album is....I really wasn't expecting this much effort put into a Madonna album like some of her best work had had.  Don't let the commercial singles fool you, Madame X seems to be a mission statement for the veteran superstar as songs like the epic gospel/disco mash-up "God Control" and the strange yet tragic sequencing of "Dark Ballet" show a sense of ambition and forward thinking than something like Rebel Heart's "B!tch I'm Madonna" and....sigh...."Holy Water".....-_-  It doesn't end there as the serious experimentation of the Latin world continues from "Batuka" leads a powerful call and chant with a singing group from Cape Verde to the Spanish interwoven singing of "Killers Who Are Partying".  Sure, not everything works...which leaves me with my 2 official but only problems with the album as a whole.  1) The Madame X persona was poorly executed and seems too gimmicky for my tastes.  Madonna says the title and theme for Madame X came from her early days as a dancer when she arrived in New York in the late 70s.  Her dance instructor gave her that name; inspiring the every-woman moniker that Madame X represents.  But outside her introduction in the Medellin video and Madonna looking utterly ridiculous with the eye patch over her eye without any meaning or context to it.  It's very weird considering Madonna's past personas like Mistress Dita, M Dolla (so tragic), etc. made more sense but this particular one just seems so throwaway where it could have made more sense thematically and conceptually if she worked on it just as hard as the album itself.  Oh well.... 2) The unfortunate handling of Madonna's vocals on the album at times.  Unfortunately, Mirawis couldn't help but autotune the hell out of her voice on certain songs; making her not only sound bad but not like herself.  Once again, "Future" maybe the worst of it as she sounds like some Rihanna knock-off! At least to me anyway! Which is so weird as once again (I've been saying that alot I know! :P) her voice sounds fine on it's own like songs like "Crazy" and her unprecedented soulful delivery in places.  It's funny, their last project together American Life is what I would consider one of, if not, her worst album in her discography.  An album too heavy on electronica...or folkelectronica, the best moments are the stripped down acoustic songs that show Madonna's true artistry instead of the over the top autotuned garbage that muck up most of the album.  But regardless of those two very noticeable flaws, Madame X, as an album, holds up easily stronger than her last 2-3 albums put together.  Sure, there are things about that many will find grating and uncomfortable about it...but this is a Madonna album that feels true to her legacy and what you'd expect of an artist of her legendary and integrity.

"Just recently reaching the top spot on the Billboard 200 to make her the second female artist with the most #1 albums with 9 chart toppers, Madonna who has already conquered the music industry with a magnificent longevity lasting almost 40 years at this time, releases her 14th album in the form of "Madame X".  Heavily inspired from her adventurous submergence into the city of Lisbon after moving there with her family recently and fully immersing herself in the cultural elegance of the Latin world like she never has before, 'Madame X' is clearly flawed but frighteningly experimental in hindsight as she uses the alluring feel of the popular genre to put forth some of her most political, personal and painfully thought provoking work thus far...for better and for worse...as usual. What else is there to expect from this masterful 60 year old music mastermind???" ;)
(A-)