Whatever your individual review of Madonna’s latest album “Madame X” is, one fact is undeniable; the remixes for some of the singles on the ultra-experimental album that are poised to arrive this summer will have us on the dance floor absolutely living for Madge’s latest incarnation.
As she prepares to take the stage at New York City Pride on Pride Island, the remixes for her Pride-inspired anthem “I Rise” are already being buzzed about, especially after the resistance and protest inspired video she released late yesterday. In partnership with TIME Studios, the video conjures up images that embody the true spirit of standing up and fighting back. Directed by Peter Matkiwsky, the video merges footage of Parkland school shooting survivors, LGBTQ supporters and allies, women’s rights protesters, Olympic gymnast Aly Raisman’s testimony about sexual abuse and numerous other haunting images of social justice movements and people, all truly defining the spirit of the “resistance”
Already, Madonna is looking at her post-New York City Pride material from “Madame X” and what could possibly be the next single officially released. All arrows are pointing to the radio-friendly, Swae Lee duet “Crave” as the possible next single to be chosen, with the video dropping late last month. Yesterday, Madonna was shown on her Instagram teasing the remix that Miami based DJ Tracy Young has done, simply saying- it’s “fire”!
Young historically has had a series of home runs with Madge, with her remixes of “Music”, “Don’t Tell Me” and “What It Feels Like For A Girl” (from the album Music) all keeping dance floors packed in 2000. Speaking of Young, it’s already been confirmed that she has put her magic touch on remixes for “I Rise”, which are sure to take the song from impassioned resistance torch song to definitive summer dance anthem.
It looks like Madonna & Tracy Young are going to be giving us one more mix to “Crave” this summer…
BONUS: While we eagerly anticipate Tracy Young’s remix of “Crave”, the remix that Dario Xavier did for the song & released on his Soundcloud is a definite banger on its own. A consistent and throbbing beat behind Madge’s vocals along with drop outs at seemingly just the right times make this one the perfect remix to whet our appetites for the flurry of remixes we will be getting from our favorite Material Girl.
(Art Courtesy of YouTube)
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MADGE RETURNS TO ACTION WITH ONE OF THE FLAT-OUT LOOPIEST ALBUMS OF HER CAREER
Ay yi yi. Or to put it another way: It’s a weird kind of energy. Or to put it yet another way: Bitch, she’s loca.
That’s not me talking. That’s Madame X herself. She’s got a helluva point: Madonna’s 14th studio album and first full-length in four years isn’t just her latest stylistic departure or artistic reinvention: It’s one of the flat-out loopiest releases of her career. And not just because of the eyepatch she’s been sporting lately.
The weirdness goes far deeper than that. And comes from a far more exotic place. Much of the disc was birthed, written and recorded in Lisbon, where Madonna relocated in 2017 so her son could pursue his soccer-star dreams. Turned out his mom was the one who ended up chasing goals, creating a disc inspired by the cultural melting pot in the Portuguese capital.
Of course, Madonna being Madonna, she takes everything one step beyond the norm. So if you’re expecting upbeat, sunny Latin-pop reminiscent of La Isla Bonita, forget it. The 13-track Madame X (or the 15-track Deluxe Edition) is a moody, thoughtful and decidedly intimate affair. Grooves tend to be slow-burning and sultry. The tastefully minimalist arrangements balance electronic beats and basslines with acoustic and traditional instruments.
Lyrics toggle between English, Spanish and Portuguese. And there are all manner of eccentric little touches and surprises peppered throughout the cuts. Like, for instance, the Vocorder-treated portions of The Nutcracker that suddenly intrude into Dark Ballet. The guest spots by Migos’ Quavo, Diplo, Colombian singer Maluma and Rae Sremmerd’s Swae Lee. The low-key cha-cha weirdness of leadoff single Medellin. The minor-key dissonance and Asian tabla drums of Extreme Occident. The trip-hop undertones of Crazy.
And the reggaeton grind of Bitch I’m Loca. If you’re starting to notice a theme in those last few titles, you’re not alone — Madonna seems very preoccupied with her mental health on this album. Sometimes she brags about being crazy.
Sometimes she accuses someone of trying to drive her crazy. And sometimes she complains that people think she’s crazy. Granted, it doesn’t exactly help her case when she writes lyrics like: “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.”
But I guess we should thank our lucky stars for that; one can only imagine how nutso Madame X would have turned out if she were high.
More at MontrealGazette
Madonna and Jimmy Fallon donned glow-in-the-dark jumpsuits on Thursday night for a neon dance battle on The Tonight Show. With the show’s house band, The Roots, providing a funky beat, Fallon managed to hold his own against the Queen of Pop in the contest, which you can see in full below.
In her interview with Fallon, Madonna talked about her upcoming small-theater shows , which include a 17-night residency at the Brooklyn Academy of Music, and recalled getting flustered (and a little flirty) when Fallon introduced her to President Barack Obama the last time she was on The Tonight Show. “You’re the only reason I’m doing this,” she allegedly told the former president backstage.
Madonna started off the couch chat by jokingly putting Roots drummer Questlove on the spot, asking him if he was mad at her during the dance segment and then forcing him to reveal whether she or Fallon were the better dancer.
“Your physical comedy is unparalleled,” she told Fallon. “That’s what you call my dancing? Physical comedy?” Fallon snapped back. “A good comedian has to be able to dance. You do need a new hairstylist, but that’s another story,” she zinged. The pair’s chemistry was clearly on view, with Madonna also teasing Fallon about his “manly” beard and his powder blue tie, which led to a spontaneous duet on the George Gershwin classic ‘Summertime.’
Wearing a bedazzled short dress accented by a black hat with a veil featuring the word “art” embroidered in red, the singer indulged Fallon in a cha-cha lesson, inviting the entire studio audience to have a dance with her. And, as it turns out, Madonna was wearing her veil because the two jokingly decided they are going to get married. “I gotta talk to my wife and figure this out,” Fallon said.
“The more marriage I have the shorter my veil gets,” Madonna shot back, before leading the audience in a cha-cha dance, inspired by her song ‘Medellín’ with Maluma.
Madonna released her hotly-anticipated new album Madame X on 14 June. She recently performed her song ‘Future’ with Migos‘ Quavo at the 2019 Eurovision Song Contest.
More at UDiscoverMusic
Madonna’s 14th studio album Madame X entered the official Dutch Album Top 100 charts at number two, Bruce Springsteen grabs the top spot.
A fantastic accomplishment and very well deserved!
Update: As release week for her album “Madame X” came to a close, Madonna dropped by “The Tonight Show Starring Jimmy Fallon.”
Madonna appeared as an interview guest on Thursday’s episode. She also engaged Jimmy Fallon in a Neon Dance Battle.
Thursday’s “Fallon” also featured Guy Raz and Ari Lennox.
Initial video highlights from Madonna’s interview follow; more clips will be posted upon availability. Photos from the taping also follow.
====Madonna’s “Madame X” is on the verge of topping the Billboard 200, in the process becoming the icon’s ninth #1 album.
To celebrate a successful release week, Madonna stops by “The Tonight Show Starring Jimmy Fallon.”
Appearing as the episode’s lead guest, Madonna chats with host Jimmy Fallon. She and Fallon also engage in a “Neon Dance Battle.”
Taped in advance, Thursday’s episode also features a chat with Guy Raz and a performance by Ari Lennox. It airs at 11:35PM ET/PT on NBC.
Full article at HeadlinePlanet
Our Madame X discography is finally online! Our complete discography has been on hold for a while now due to the release of Madame X. Every item in our discography is scanned / photographed from our private collection, so if it’s not there it’s not in our collection (yet).
So far we have included 11 items. Whenever new items land on the doormat we will upload, so stay tuned.
Check it all out now HERE
Madonna sits down for an interview on The Tonight Show with Jimmy Fallon tonight! Don’t miss it.
Madonna is a Grammy Award-winning singer-songwriter often dubbed the “Queen of Pop.” She has released 14 studio albums since 1983, eight of which topped the Billboard 200 albums chart, and had 38 singles reach the Top 10 of the Billboard Hot 100, including 12 No. 1 hits. Madonna has been nominated for 29 Grammys, winning five. In addition, Madonna has starred in the films Desperately Seeking Susan, Dick Tracy, A League of Their Own and Evita. Her newest album, Madame X, was released on June 14, and she will begin touring on September 12 in Brooklyn, New York.
As we move into the final two days of the June 14-20 tracking period, Madonna’s “Madame X” is the clear frontrunner for #1 on the US album sales and consumption charts.
The latest projection from Hits Daily Double has the album selling 90-100K pure US copies this week. With units from track sales and streams included, “Madame X” should generate 95-105K in total consumption.
Beyond the general enthusiasm one would expect for a new Madonna album, “Madame X” is generating from bundles and direct-to-consumer offers.
Should the projection hold up, “Madame X” will be Madonna’s 9th #1 album in the US — and her first since “MDNA” in 2012.
More at HeadlinePlanet
Madame X is a radical body of work, but perhaps not in the way Madonna intended. She rails against injustice and oppression with the fervor of a preacher, imbuing the album with a righteousness that is palpable. As brave and commendable as that is, the Queen of Pop’s musical missives lack nuance. Rather, it’s her complete defiance of genre that makes Madame X genuinely groundbreaking.
From the promo video that announced the era, we know that Madame X is, among other things, a nun and an equestrian. She can also add sane scientist to her resume. The pop icon concocts a collection of songs that blend reggaeton, dancehall, pop, hip-hop, afrobeat and fado — all without losing sight of her mission. As the living legend knows better than most, music makes the people come together. And she’s determined to forge unity and resistance, one pop-hybrid at a time.
In some ways, Madame X can be divided into two parts. In one column, there are the wildly experimental, often politically-charged anthems produced by Mirwais. In the other, we’re treated to more accessible pop offerings largely crafted by Mike Dean and Billboard. They are both equally compelling, but the former has proven to be more polarizing. Which, I suspect, would please Madonna no end. After all, her track record with Mirwais is as eclectic as it is immaculate. Together, they have created everything from radio hits to electro-pop oddities like “Impressive Instant” and “X-Static Process.”
The collaborators obviously share a passion for stretching the boundaries of pop, and that trend continues on Madame X. Take the album’s lead single. “Medellín,” a dreamy duet with Maluma, was met with mild confusion upon release. (Few expected Madonna to return with a five-minute, bilingual bop about a Colombian city). Amusingly, it turns out to be one of the record’s most accessible cuts. The track’s quirks are offset by a plethora of hooks and an unabashed romanticism that is disarming.
A more daring, equally successful experiment is “God Control.” An instant fan favorite, this might be the only song in existence that addresses gun control and youth unemployment over disco beats. It’s sprawling and perhaps unnecessarily baroque, but it burns with ambitious and anger. And still manages to be pop. A quality that “Dark Ballet” is lacking. Instead, the oddball anthem offers a little Tchaikovsky, heavily-distorted vocals and a scathing sermon on the state of humanity. It’s a little heavy-handed, but nonetheless mesmerizing.
Less successful are cuts like “I Don’t Search I Find” and “Extreme Occident,” which don’t propel Madonna’s moral agenda forward, or work as straightforward pop songs. They do, however, offer a degree of self-reflection, and tell you more about the enduring hitmaker’s relationship with Father Time than that bogus New York Timesprofile. The same can not be said for “Killers Who Are Partying,” which finds our heroine exclaiming platitudes over an admittedly lovely, fado-inspired arrangement. The intention is as admirable as the execution is ham-fisted.
Mirwais and Madonna truly excel, however, when they are showcasing another aspect of Madame X. Namely, that she is a student and world traveller. “Batuka” is a plea for change that (successfully) combines a choir, African instruments and a Portuguese drum collective. It’s dynamic and utterly compelling. That description also applies to bonus tracks “Ciao Bella” and “Funana.” The former finds Madonna at her most playful and fun, while the latter is a rush of pure energy. There are a couple of frivolous, world music-inspired bops on Madame X. Unfortunately, they are hidden on Disc 2 of the deluxe edition.
The rest of the album is less experimental, which isn’t necessarily a bad thing. “Crave” stood out as the best buzz track from Madame Xand it still ranks as the only cut that really caters for radio. The production, courtesy of Mike Dean and Billboard, is on-trend and Swae Lee adds a hip-hop sensibility that makes it accessible to an even wider audience. The producers work similar magic on “Faz Gostoso” featuring Anitta. It’s actually a cover of a 2017 hit by BLAYA, but there’s nothing dated about this explosion of dance beats and sexy lyrics.
Another highlight is “Come Alive.” Co-written by Starrah (one of seven songs she contributed to the album), the hip-hop-tinged bop boasts one the most instant choruses on Madame X. The involvement of Jeff Bhasker (Beyonce’s 4) is strongly felt on the lush, horns-filled production. He also had a hand in the excellent “Looking For Mercy.” It’s not a coincidence that Madonna introduced Rebel Heartwith a song called “Living For Love.” This is a bookend of sorts. Instead of the outward search for companionship, the hitmaker is now focussed on her relationship with God. Wisdom is in short supply in pop music, but this is brimming with it.
While there’s an urban sheen to many of the songs not produced by Mirwais, world music is still very much front and center. Take the Latin-pop fusion that is “Crazy.” In another artist’s hands this would be surefire radio fodder, but Madame X makes it a culture-bridging banger. And then, there’s the hilarious “Bitch I’m Loca,” which is best described as a (low-brow) sequel to “Medellín.” I also recommend hunting down “Back That Up To The Beat.” It’s yet another gem tucked away on Disc 2 that mashes everything from euro-dance to ’90s R&B. Pharrell really stepped outside his comfort zone on this one.
Again, this half of Madame X falters ever so slightly when it becomes political. Album-closer “I Rise” is well-intentioned, but it didn’t need a children’s choir to bludgeon the point home. “Future,” a dancehall-lite collaboration with Quavo, is no less subtle in its messaging or execution. The latter also highlight’s Madonna’s heavy use of autotune, which begins to feel a little overdone as the record enters the home stretch. It should be noted that while the Queen of Pop addresses the bigger picture like never before on Madame X, she also looks inward.
In many ways, Madame X is Madonna’s most personal album to date. She’s speaking her truth, while revealing more of herself than ever. It might not be the collection of bangers you want, but it’s what we, as a society, need. The fact that she can stoke the flames of rebellion in a way that is original, vulnerable and inclusive (in the truest sense of the word) is a pop miracle. But, then again, Madonna has been rewriting the rule book since 1982. And she isn’t going to stop any time soon.