Working For The Weekend singer Max modelled alongside Madonna in a 2010 advertising campaign for Dolce & Gabbana. He recalls how the Queen of Pop seized control of the shoot – and him – to have things her way.
Up and coming singer Max has peeled back the covers on his secret professional relationship with Madonna.
The 28-year-old singer – full name Maxwell George “Max” Schneider – was just 18 years old when he was thrown in to the spotlight alongside now 62-year-old Madonna.
The pair starred in a string of campaign photographs for Italian fashion house, Dolce & Gabbana, which saw Madge take on the role of a housewife in a series of artistic photos.
High fashion snaps saw Max and Madonna striking a pose as they pretended to dance together – and other images saw them carrying shopping down a street.
Up and coming singer Max has opened up about his experience of working as a model with Madonna(Image: Handout)
Now 10-years-later, Max has explained the slightly odd relationship he had while working with music icon Madonna.
And it appears she decided to call the shots when it came to their dancing scenes.
He recalled: “By the end of the day, she said, ‘Cancel the other shoot, just bring me and Max on the street and we’re just going to carry groceries’.”
The subsequent photo shoot was also captured by paparazzi on location of the campaign.
The snaps that emerged threw Max in to the middle of a media frenzy.
Madonna and Max featured in a 2010 Dolce and Gabbana advertising campaign
He said: “Next day, I woke up and the paper said, ‘Who’s Madonna’s new foetus boyfriend?’ The day was this surreal hang with Madonna.”
Max has since hung up his modelling shoes and is now a focused musician himself.
His new single, Working For The Weekend was released on Friday – while his upcoming album, Colour Vision, is due for release on 18 September.
With “Levitating,” I had to make the whole thing beginning to end as if Dua were the only person on it and then we sent that to Missy and Madonna and then they hopped on it. The second verse in “Levitating” and the backing vocals were replaced by Madonna, which she recorded separately in a studio; those were sent over through her engineer, who is a real hero of mine, Mike Dean. Madonna did different variations on stuff. At one point, it broke out into “Lucky Star” for a second which was crazy. Then Missy just dropped her whole verse and sent it over with the air horn included and it was like… it’s exactly as you expect. I ended up Frankenstein-ing these three versions together, then Madonna wanted Mike Dean to mix it all down. So I basically made it and then Mike mastered it and did the mix down on it. It was a great experience.
Read full interview with The Blessed Madonna at Nylon
Madonna is keeping fans updated on her forthcoming screenplay with new photos on social media. According to reports, the project is music related and is based on Madonna herself with involvement from writer and producer Diablo Cody.
Madonna took to her Instagram to share a video of what she is currently working on. “This is how we grind…….. #screenplay #diablo #davidbanda,” she wrote in her caption on Instagram alongside a video of the writing process. In the video, Madonna tells Cody, “If we want to not freak out certain people or be more accessible… This is the precursor to ‘Wet Ass Pussy’ let’s face it,” referring to the new collaborative single by Megan Thee Stallion and Cardi B ‘WAP’.
Based on their discussions, the project will push the limit with certain controversies (it is Madonna after all) and will dive into darker territories. “Honestly, I’m sure anything we come up with is gonna be…” Cody says before Madonna adds, “I just remember the word the antichrist or the devil or… I don’t know.” She then adds, “The antichrist of pop music,” before giving out a villainous laugh. Cody is known for working on the supernatural horror-comedy ‘Jennifer’s Body’.
In the photos on her Instagram stories, Madonna is seen going through her writing material in her living room. In one pic, a photo of Madonna in her early career days is seen on the living room table in front of several dated notebooks.
On August 7, Madonna first revealed she is working on a screenplay with another Instagram post. In her caption, she wrote at the time, “When you’re stuck in a house with multiple injuries what do you do? Write a screenplay with Diablo Cody about…?” The pop star followed this statement with emojis signaling that the project could be music-related.
The video also showed Madonna and Cody working together, with Cody typing on a laptop and a table full of notebooks in front of them. Madonna also described to Cody her iconic Jean Paul Gaultier cone-bra costume from the 1990 ‘Blond Ambition’ tour, which also led fans to speculate that the two are writing a biopic on Madonna.
Cody won an Oscar for best original screenplay for ‘Juno’ in 2007 and has since written and produced other notable films including ‘Jennifer’s Body’ in 2009 (which is now considered a cult classic by critics), ‘Young Adult’ in 2011, ‘Ricki and the Flash’ in 2015 and her latest film ‘Tully’ in 2018.
It was crazy. Dua and I are both enormous Madonna fans. The same thing with Missy Elliott. I think for both of us, that was the fantasy. We were like, “This is never going to happen.” I don’t think any of us really conceived that it was actually possible. It’s one of those things where you don’t get it unless you ask for it, but there’s always a level of being surprise when you do get what you’re asking for. To be able to make a record that not only had them on it, but frankly, which would be as comfortable in an underground club as it is on the radio, is incredible.
With Madonna, I was thinking of the record “Physical Attraction.” It evokes that period in her career. Then, of course, Missy is basically God. The first time you hear those Missy vocals come in your email, it’s like, “I can’t believe this is actually happening or that she’s talking to me.” She was just so nice. She was just so nice and so supportive, and really loved the remixed genuinely. That was crazy because at first, it had been made to exist without either of them.
It was originally just Dua and then Madonna hopped in and did the second verse. Later on, Missy added hers. I was like, “Oh, hold on, there’s something I think you’ll both like. I just made it.” Then they were like, “Yes.” That is, of course, shocking and terrifying.
The Blessed Madonna taps an all-star cast of house music legends to remix their way into the hearts of a new generation of listeners.
Top Notes: Saccharine sweet—like marzipan
Mid Notes: A cocktail of syrupy pop music nostalgia and boisterous club rhythms
Base Notes: A rare major label feat bridging the gap between dance music’s history and 21st-century hitmakers
Is Dua Lipa a house music head? The question first arose two years ago with the release of the infectious “One Kiss,” her collaboration with Calvin Harris. Rarely had a top 40 hit contained such a direct nod to classic dance music genres like garage house and 2-step, and several of my DJ friends claimed it as their not-so-secret summer anthem that year. That’s why it comes as no surprise that the British pop star has continued to deepen her flirtation with electronic music. But where Dua Lipa’s chart-topping sophomore album Future Nostalgia stylistically leans more heavily on disco, the genre that birthed modern dance music, it’s full-length remix album Club Future Nostalgia—released last week—dives into a wider variety of dance music genres, with the help of a star-studded cast of collaborators, co-curated and executively produced by The Blessed Madonna (real name Marea Stamper).
Formerly known as The Black Madonna, the Kentucky-born artist has claimed to have originally chosen the name to reflect her “family’s lifelong Catholic devotion to a specific kind of European icon of the Virgin Mary which is dark in hue,” but the name always raised eyebrows. This summer, in light of Black Lives Matter protests globally, and with increasing pressure from the electronic music community, she made the change to her new alias.
At this point, Stamper had already been working with Dua Lipa, after initially being introduced by Mark Ronson at last year’s edition of Glastonbury. “When Dua asked me to recreate Future Nostalgia as a DJ style dance mixtape,” she says, “I was excited because I knew I was being asked to introduce not only myself, but my heroes and sheroes from both pop and club music in a whole new way.”
Club Future Nostalgia takes the form of a remix album-cum-mixtape featuring fresh takes on Future Nostalgia’s original tracks by none other than house veterans Masters At Work, Godfather of house Larry Heard (A.K.A. Mr Fingers), Midland, Horse Meat Disco, Hot Chip and 2Bear’s Joe Goddard, Jayda G, Paul Woolford (A.K.A. Special Request), Korean-American electronic star Yaeji, Detroit House legend Moodymann, and The Blessed Madonna herself. An album visualizer, published on Youtube, also accompanies the project, with each music video creating a unique world via 3D design and motion graphics per track.
At every turn, the record incorporates its titular themes, opening with Joe Goddard’s take on “Future Nostalgia.” Here, the remixer represents a bridge between Millennials, who grew up on Hot Chip’s synth-pop mutations and Goddard’s Greco-Roman imprint, and Dua Lipa’s overwhelmingly Gen Z fanbase. Next up, listeners glide into Jayda G’s short and sweet “Cool” rework. Clocking just at 2 minutes, the upbeat flip brings a refreshing touch and a polyrhythmic shuffle to Dua’s vocals. In one of the boldest interpretations of the album’s core theme, Jamiroquai’s iconic “Cosmic Girl” sprinkles over Dimitri From Paris’ “Break My Heart” edit like stardust.
As expected on a major label project of this nature, some of the remixes indulge in the more grandiose, bubblegum-sticky veneer of pop music, such as Zach Witness and Gen Hoshino’s take on “Good In Bed” (reminiscent of the retro sounds of Lily Allen) or in The Blessed Madonna’s own version of “Love Is Religion,” which could easily score a happy-go-lucky scene in a Netflix original reality show. Still, Club Future Nostalgia is full of blissful moments dance music heads and Dua Lipa stans can surely come together on, such as Midland’s buoyant 2-step take on “Pretty Please,” blending into classic garage house beats from Masters At Work.
The record’s standout is Yaeji’s remix of “Don’t Start Now,” thanks to its unexpected spin on the viral original, with sharp, angular twists lurking just around each corner. Alternating between elements of Jersey Club and deep house, Yaeji’s signature vocals—which usually take center stage in her own productions—can only be detected through a distorted filter, echoing Dua’s voice. Another strong contender is the record’s closer, “Break My Heart,” where Moodyman lets Dua’s voice float casually over his deliciously stripped-back approach to beat making, funk-driven basslines, and his own infectious laugh. In classic Moodyman fashion, it’s also the track with the longest playtime, its melodies wheeling around like the roller skates at his legendary Soul Skate parties.
While the pairings of remixers may seem like a strange marriage to some—when the record was announced, an army of Dua Lipa fans took to Twitter to voice their aggravation with the choice of artists tapped to work on the project—the record harkens back to times when major label artists would entrust cutting-edge, underground dance music artists with remix duties, like Armand Van Helden’s cult takes on Janet Jackson, Aaliyah, and Tori Amos, which still continue to fire up the rave. Additionally, as EB contributor Chal Ravens pointed out on Twitter, this kind of pop-meets-underground cross-pollination can often become a young listener’s first foray into dance music. Love it or hate it, the scale and ambition of this project alone is worthy of praise. The fact that it might expose a new generation to dance music’s rich history is only the icing on the cake.
Club Future Nostalgia is out now on all platforms, or listen to it via the link above.
Packing 15 producers into 50 minutes, the fun but overstuffed Future Nostalgia rework hopscotches between piano house, Baltimore club, and the kind of dance remixes that power Chelsea gay bars.
Apop diva is poorer without her remixes. Madonna’s dance remixes span Shep Pettibone’s kinetic “Express Yourself” rework to Stuart Price’s revitalizing overhaul of her discography on ’00s tours. Whitney Houston’s club versions brought extra oomph to a joyous NYC Pride performance in 1999. (“If your music’s banging in the clubs, you’re doing okay,” Houston noted.) And the hip-hop and dance remixes of Mariah Carey, pop’s queen of the remix, lower drawbridges between genres and become playgroundsforinnovation.
Not all of these icons descended from the pop pantheon to party with the people. But Dua Lipa, who made True Blue for the 2020s with this year’s Future Nostalgia, is a raver. At last year’s Glastonbury festival, she wore sunglasses, a red wig, and adopted the alter-ego “Valentina Vicious” so that she could party in peace. Lipa met The Blessed Madonna that weekend, and linked up with the Kentucky-born producer earlier this year to create Club Future Nostalgia, a fun but overstuffed mix that hopscotches between piano house, Baltimore club, and the kind of dance remixes that power Chelsea gay bars like so many cheap well drinks. A stacked lineup includes Masters at Work, Mr. Fingers, Mark Ronson, Yaeji, and Moodymann, with seamless transitions from The Blessed Madonna. But heavy-handed editing can make Club Future Nostalgia feel oddly uneven.
Yaeji whittles and rebuilds “Don’t Start Now” into bouncy minimal disco, chopping her own murmured vocals into the beat like ASMR with somewhere to be. The previously unreleased “Love Is Religion,” remixed by The Blessed Madonna, sounds like a Lip Sync for Your Life song from RuPaul’s Drag Race in the best way. Mr. Fingers’ skeletal version of “Hallucinate” lifts just “I’ma love you like a fool/Breathe you in till I hallucinate” from Lipa’s original. In his edit, “fool” sounds like “fucker,” a soundtrack for any darkroom sex god to lay out their agenda to a willing partner. But the Mr. Fingers track is abbreviated—The Blessed Madonna adds a superfluous sample of Gwen Stefani’s “Hollaback Girl,” which takes up nearly a third of its runtime. Similarly, Jacques Lu Cont’s Balearic rework of the previously-unreleased “That Kind of Woman” is sublime, but getting only three minutes of it feels like a tease; Lu Cont, aka Stuart Price, can make every second of a seven-minute remix feelessential.
DJ drops from Lipa punctuate the record, a trick Vince Staples also used on his 2018 album FM!, which was styled as a radio show. Club Future Nostalgia feels less like London pirate radio than a show from one of BBC Radio 1’s most inquisitive DJs. That accessibility isn’t a bad thing. Jayda G’s amped-up version of “Cool” is exactly what you want to hear in a warehouse at 3 AM, football whistles and all, and Horse Meat Disco’s euphoric “Love Again” seems to be made for the moment when the sun starts to peek through a club’s shutters. But Club Future Nostalgia’s starriest moments are some of its weakest. Mark Ronson’s depressingly loungey remix of “Physical,” with a disappointing verse from Stefani, manages to make one of the year’s most vivid pop songs feel like background music. And the irresistible “Levitating” is deflated by phoned-in features from Madonna and Missy Elliott, who were more charismatic when they teamed up for a Gap commercial.
Great DJ sets are built around tension and release, but whipping through 15 producers in 50 minutes, Club Future Nostalgia struggles to build the anticipation to earn a payoff. The most dazzling exception comes at the end of the album: Moodymann’s remix of “Break My Heart” is by far the best track. Built around a bass lick, cowbells, and weird ambiance—clinking bottles, a menacing laugh—it feels terrifying and beautiful. A more left-field approach to Lipa’s music—as seen elsewhere, on Hyperdub artist Loraine James’ dark experimental rework of “Don’t Start Now,” and Erika de Casier’s neo-noir take on “Physical”—would have enriched the mix. As it is, Club Future Nostalgia is a bit like a round of exquisite corpse: fun while it lasts, but somehow less than the sum of its parts.
British Pop queen Dua Lipa joined forces with American DJ The Blessed Madonna to bring back her iconic masterpieces and give them a remix of incredible sonic textures with her latest remix album Club Future Nostalgia. The album released on Friday, August 28th digitally brings a new resonating wave into the global club scene. Consisting of 17 tracks, the album kicks off with the blissful number Future Nostalgia exuding some retro EDM vibe. ‘Cool’, ‘Good In Bed’, and ‘Pretty Please’ follow basking in her glorious singing dexterity wrapped in the warm embrace of the remixed electro-dance beats.
The remixed album is more liberating and fun than the original Future Nostalgia being more diverse extremely entertaining. The fluid beats of the tracks, especially ‘Boys Will Be Boys’, ‘Love Again’, ‘Break My Heart’, and ‘Hallucinate’ sails smoothly with the remarkable artistry of diverse featuring artists like Claire Cochran, Rick Farin, Nick Vernet, Connor Campbell, Robert Beatty, Mason London, and many more. The album includes some iconic numbers such as ‘Levitating’ that features Madonna and Missy Elliott. The exuberant spirit of the album matches the passionate artistic level of both the artist introducing a seamless flow of dynamic rhythmic resonance.
The unforgettable collection presented through Club Future Nostalgia presenting genre-splicing remixes such as ‘Love Is Religion’, ‘Don’t Start Now’, ‘Physical’, ‘Kiss and Make Up’, ‘That Kind Of Woman’, ‘Break My Heart’, and the others take it to its glorious peak. With the help of The Blessed Madonna, Dua Lipahas successfully blurred the gap between the genrescreating a never-ending flow ofkillerclub mixes. The hypnotic visuals of each track slide into the next cruising impeccably with the melodic flow. Follow them on all the major streaming platforms and social media for more.
Marlene Stewart designed some infamous outfits for the music videos and live performances of Madonna, and she revealed the backstory for one of the pop star’s most iconic looks ever.
“Well, when I started working with her, I mean, it was really an easy match because it was like playing dress up,” Stewart told TODAY ahead of the 2020 Video Music Awards on Sunday night. “We had a great time. She’s really easy to work with because she really loves clothes. She knows her body. and that’s part of her look.”
A sketch of Madonna from the music video for “Express Yourself.”Marlene Stewart
Stewart, who started her career in fashion by working in the garment industry, designed for the pop star from approximately 1984 to 1992 before later working more heavily in the film industry.
“She’ll give you the time that you need for fittings,” Stewart said of their working relationship. “So the most important thing for a costume designer is to have someone that participates and really wants to be there. And now many years later, we can look back and know that she understood the power of her look. So she gave it 100 percent or 1,000 percent of her attention.”
Polaroids of Madonna from various fittings and shoots.Marlene Stewart
Stewart ended up winning awards for the costumes she created in Madonna’s video for “Material Girl,” which was inspired by Marilyn Monroe’s pink gown during her performance of “Diamonds Are a Girl’s Best Friend” in the 1953 film “Gentlemen Prefer Blondes.” But Stewart also designed another key look in the history of Madonna’s wardrobe: her costume for the 1990 VMAs performance of “Vogue.”
“MTV was made for Madonna and Madonna was made for MTV.”
“We know historically that the French were the biggest posers and it’s the whole idea of voguing and posing,” Stewart explained of her inspiration for the costume. “So it was the perfect transition. I suggested for this kind of French court situation with Marie Antoinette. It’s really one of the origins, right? All they did was, ‘Strike a pose.'”
When asked if it was her idea, she said it was, before adding, “I think one always has to say it’s a collaboration. I would never say anything was completely mine. Every time you work with an artist, you work on something together.”
“It’s a team effort, You can’t do anything by yourself”
Madonna posing for a pic in the outfit for 1990 VMAs performance of “Vogue.”Marlene Stewart
When asked whether Madonna was difficult to work with, Stewart said that wasn’t the case for her. She worked with the pop star for eight years, also designing costumes for other influential music videos, including “Like a Prayer” and “Open Your Heart.”
“I don’t know if I would use the word ‘easygoing,'” Stewart added. “I think she has really high standards and she knew what she wanted and that’s all fine. It’s better to have someone that knows what they want and what they like than someone who doesn’t know what they like or what. That’s actually difficult. You can work with someone that knows what they actually like. You want someone that actually has an opinion; otherwise you waste a lot of time.”
Madonna from her video for “Open Your Heart” in a magazine spread.Marlene Stewart
“I think that she was in a super creative space at that time. That was really the origin story, if you will, and creating really special things ourselves. She didn’t want designer works that she was an advertisement for. It was about her being an original.”
Considering that some of her designs, including Madonna’s black slip dress in “Like a Prayer,” were deemed controversial at the time, Stewart explained she never gave the blowback much credence.
“I didn’t take it super seriously. For some people, it was very jarring and jolting and provocative, but I kind of have a neutral feeling about it because some people maybe that were very religious, took it to heart and were insulted.”
“She pushed the boundaries like any artist would do.”
“I saw it as entertainment. You can say that she’s making a political statement or that creating controversy is the thing that Madonna does, but she always just changed it up. She pushed the boundaries like any artist would do.”
Stewart looks back and acknowledges that it was a great time to be working in music videos, because music videos really dictated so much of culture.
“She pushed the boundaries like any artist would do.”Marlene Stewart
“It was a time when videos, even though it was the beginning, it was also sort of the peak time for MTV those few years,” she said. “We really created trends all around the world and it really was the beginning of a movement. So it was an incredible opportunity to be there at that time and have those experiences.”
“MTV was made for Madonna and Madonna was made for MTV.”
DUA LIPA & THE BLESSED MADONNA REMIX ALBUM “CLUB FUTURE NOSTALGIA” OUT NOW
DUA LIPA & THE BLESSED MADONNA REMIX ALBUM
“CLUB FUTURE NOSTALGIA” OUT NOW
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Out today “Club Future Nostalgia” is a stellar collection of brand-new remixes and features from an incredible roll call of superstars, underground heroes and some of the world’s finest dance music talent. Featuring remixers handpicked by The Blessed Madonna, the mixtape also includes classic house and pop samples woven into the mix. Marea Stamper aka The Blessed Madonna is a Kentucky-born, Chicago-adopted and now London-based DJ and producer who has become one of the most celebrated names in global club culture.
The album is an eclectic and euphoric mix of the past and present, a celebration of musical worlds coming together, with 90s house blending seamlessly with 2020’s finest pop and remixers, a splash of 80s soul and a few noughties musical gems added to the blend.“Club Future Nostalgia” features musical collaborations with Gwen Stefani, Madonna, Missy Elliott and BLACKPINK as well as remixes by the legendary Masters At Work, Godfather of House Larry Heard – aka Mr Fingers, Japanese superstar Gen Hoshino, multitalented artist/producer Mark Ronson, noughties remix king Jacques Lu Cont, Erykah Badu producer / collaborator Zach Witness, UK DJ / producer Midland, Horse Meat Disco – the touchstone for all things disco, Hot Chip and 2Bear’s Joe Goddard, queen of the underground Jayda G, DJ / remixer supreme Paul Woolford, Korean-American electronic star Yaeji and Detroit House Legend Moodymann.
The Blessed Madonna has used samples to thread together these remixes, mixing classic pop samples from the likes of Janet Jackson, Neneh Cherry, Gwen Stefani and Jamiroquai, plus phrases from iconic house, soul and disco records, by artists such as Robert Owens, The Art Of Noise, Cajmere, Gaz, Lyn Collins and Larry Heard.
The album also features the recent single “Levitating” feat. Missy Elliott and Madonna, remixed by The Blessed Madonna – watch the video for the single BELOW.
On the creation of “Club Future Nostalgia” Dua says “The last few months have been surreal. I’ve watched you all dance in your homes and on your Zoom parties to Future Nostalgia like you were in the club with me. It brought so much joy to my days spent at home, even though I would’ve much rather been playing these songs live for you all on the road. During this time, I decided to take the party up a notch with the incomparable The Blessed Madonna, who secretly helped me to craft the mixtape that would become “Club Future Nostalgia”. We invited some friends and legends to join in on the fun with us.”
On working on the album, The Blessed Madonna says “When Dua asked me to recreate Future Nostalgia as a DJ style dance mixtape, I was excited because I knew I was being asked to introduce not only myself, but my heroes and sheroes from both pop and club music in a whole new way. The first time I met Dua was at a rave inside Glastonbury and in a way, I am sharing a bit of that special night with all of you too. I was asked to use the very best from underground and mainstream dance music; you may already know Mark Ronson but now you will know Moodymann, Jayda G, Midland and many more. This mix is a story about dance music, pop music and the women who have defined both for generations, like Madonna, Missy Elliott, Janet Jackson, Gwen Stefani and BLACKPINK. My admiration for Dua has only deepened since doing this. She is a brilliant, once in a generation artist and a sweetheart. Being able to make this love letter to her with such a legendary cast of characters is beyond comprehension. Club Future Nostalgia is the dance floor we all so desperately need but can’t quite reach.”
Blink & BlinkInk joined forces to create a 45-minute mixed media visualiser for “Club Future Nostalgia. Directed by BlinkInk’s James Papper who worked with fourteen different artists and animators from around the world on the bespoke visualiser. Blink’s Will Hooper directed all of the live action elements, including the video for ‘Levitating’ featuring Madonna & Missy Elliott, remixed by The Blessed Madonna. The global list of collaborators is impressive; HipHops’s favourite Rhymezlikedimez, Berlin Collective Sucuk & Bratwurst, Ausie based artist Jonathan Zawada, LA’s Actual Objects, Design legend Robert Beatty, Mason London, Idaho’s Miza Roux, Vancouver based Saida Saetgar , Bristol’s Studio Dosage, Ignasi Monreal, who teamed up with the visualiser master Connor Campbell. Julian Glander, LA’s YouTube star Victoria Vincent, and Seoul illustrator, Seo Young Kwon.
Full Tracklisting
Future Nostalgia -Joe Goddard Remix.
Sample: Janet Jackson – The Pleasure Principle
Cool – Jayda G Remix.
Good In Bed – Gen Hoshino Remix and Zach Witness Remix.
Sample: Neneh Cherry – Buffalo Stance
Sample: Art Of Noise – Moments In Love
Pretty Please – Midland Refix.
Pretty Please – Masters At Work Remix.
Sample: Cajmere – Coffee Pot (Percolator mix)
Boys Will Be Boys – Zach Witness Remix.
Sample: Lyn Collins – Think (About It)
Love Again – Horse Meat Disco Remix.
Break My Heart / Jamiroquai Cosmic Girl.
Sample: Jamiroquai – Cosmic Girl (Dimitri From Paris Dubwize Remix)
Levitating (feat. Madonna and Missy Elliott) – The Blessed Madonna Remix.
Hallucinate – Mr Fingers deep stripped mix.
Sample: Gwen Stefani – Hollaback Girl
Sample: Barbara Mason – Another Man
Hallucinate – Paul Woolford Extended Remix.
Sample: Larry Heard Presents Mr. White – The Sun Can’t Compare
Love Is Religion – The Blessed Madonna Remix.
Don’t Start Now – Yaeji Remix.
Sample: Gaz – Sing Sing
Sample: Fingers Inc & Robert Owens – Bring Down The Walls
Physical (feat. Gwen Stefani) – Mark Ronson Remix.
Dua Lipa & BLACKPINK – Kiss and Make Up.
That Kind Of Woman – Jacques Lu Cont Remix.
Sample: Stevie Nicks – Stand Back Acapella
Break My Heart – Moodymann Remix.
“Club Future Nostalgia” will be available on all DSPs.
‘Exciting and eclectic’ – NME
‘Club Future Nostalgia is pure, undiluted fun.’ – The Independent
“Lipa’s record uses carefully designed pop tunes as raw material for a breathless new creation.” – Los Angeles Times
Levitating Remix has been added to our discography page HERE.
We were hoping more physical releases would follow, but it seems the 12″ vinyl issued on The Blessed Madonna’s ‘We Still Believe’ label is it.
Warner Music Benelux informed us that there were no plans for any physical releases for either ‘Levitating Remix’ or ‘Club Future Nostalgia’ as current track ‘Hallucinate’ is their focus single.
Check out the following in our ‘Levitating Remix / Club Future Nostalgia’ discography:
Club Future Nostalgia is a stellar collection of new remixes and features from an incredible roll call of superstars, underground heroes and some of the world’s finest dance music talent. The album has been curated and also mixed into a continuous mixtape format by The Blessed Madonna.
With inclusions from the likes of Missy Elliott, Madonna, Mark Ronson, Gwen Stefani and of course Dua Lipa herself – this album is sure to be a certified hit.
On the creation of Club Future NostalgiaDua Lipa says, “The last few months have been surreal. I’ve watched you all dance in your homes and on your Zoom parties to Future Nostalgia like you were in the club with me. It brought so much joy to my days spent at home, even though I would’ve much rather been playing these songs live for you all on the road. During this time, I decided to take the party up a notch with the incomparable The Blessed Madonna, who secretly helped me to craft the mixtape that would become “Club Future Nostalgia”. We invited some friends and legends to join in on the fun with us. Absolute queens Missy Elliot and Madonna joined me for an epic remix of “Levitating”, and my dream girl Gwen Stefani and the supreme Mark Ronson teamed up to take “Physical” to the next level. And the party doesn’t stop there – there are so many more surprises to come!”.
On working on the album, The Blessed Madonna says, “Taking Future Nostalgia and reimagining it as a mixtape album was an enormous project, which had to be done in absolute secrecy, alone in my attic. In a way building this fantasy out of this beautiful record Dua had already given us was the perfect task for the pandemic. It was a massive and infinitely detailed task. Creating remixes and originals, curating the dream team of additional remixers and weaving the features into a new album was both daunting and thrilling to say the least. My admiration for Dua only deepened. She is a brilliant, once in a generation artist and a sweetheart. Being able to make this love letter with such a legendary cast of characters is beyond comprehension.
In the end my goal was to build a new world: Club Future Nostalgia, the dance floor we all so desperately need but can’t quite reach. I love this project so much and I hope you love it too”.
Dua Lipa and the Blessed Madonna have released their new Future Nostalgia remix album. The record, called Club Future Nostalgia, features guest spots from Madonna, Missy Elliott, BLACKPINK, and Gwen Stefani, as well as remixes from Yaeji, Moodymann, Mark Ronson, Jayda G, Hot Chip’s Joe Goddard, Mr. Fingers, and others. Listen below.
Dua Lipa released Future Nostalgia in March. The album made the shortlist for the United Kingdom’s esteemed Mercury Prize. She interviewed Gwen Stefani while guest-hosting an episode of Jimmy Kimmel Live! earlier this month.
Dua Lipa’s new album, “Club Future Nostalgia,” calls to mind Madonna’s greatest-hits club comp “The Immaculate Collection.”
(Warner Records)
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 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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