Medellin Remixes Part 2 EP

Check out Medellin EP Remixes Part 2 now HERE

 

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EXCLUSIVE: Madonna Opens Up About Bringing Her Children Into The Music World

Article heading image for EXCLUSIVE: Madonna Opens Up About Bringing Her Children Into The Music World
She is the undeniable Queen of Pop and now Madonna has had her Aussie fans in cheers after sitting down with Kate Langbroek for a one on one chat.

Joining Hughesy and Kate for her only Australian radio interview, Madonna revealed all sorts of details about her upcoming album ‘Madame X’ including the anger she wanted to vent in her work. Madonna also opened up about her personal family time with her kids and how she encourages them to be musical…

More at hit.com.au
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‘Nice to listen to good Madonna music again’ Dutch review ****

Madonna was na het Eurovisie Songfestival, waar ze dit jaar optrad, weer even wereldnieuws. Alleen niet op de manier waarop ze hoopte. In plaats van lof wekte de vertoning van de 60-jarige leedvermaak op. Wat één grote reclamespot had moeten worden voor haar vandaag verschijnende nieuwe album Madame X werd het tegenovergestelde. Dat dit haar beste in plaat in jaren is, wie had dat nog verwacht?

Madonna (60) brengt vandaag haar veertiende studioalbum uit.Madame X is Madonna’s veertiende en de opvolger van Rebel Heart uit 2015. Ter herinnering: daarop was nog deels de clubberige toon van het afgrijselijke MDMA te horen, maar ook veel van de Queen of Pop van vroeger. Die zit dit keer in dik aangezette, bombastische poptracks als I riseMercy, de lome heupwieger Crave en de Daft Punk-achtige disco in God control. Niet revolutionair, wel herkenbaar Madonna.

Hetzelfde kan gezegd worden over de portie reggaeton, cha cha cha en andere exotische dansstijlen die madam toevoegde aan deze plaat. Die stijlen zijn al een tijdje in zwang, dus het is enigszins achter de meute aansloffen, maar ze doet het overtuigend. Eerst al in Medellín, de eerste single die ze vooruitstuurde. Maar ook in nummers als BatukaFaz gostoso en Bitch I’m loca. In die laatste zit de gebruikelijke dosis seks, voor wie er vandaag naar gaat zoeken. Politiek? Die zit in Killers who are playing: ,,I’ll be Islam, if Islam is hated. I’ll be Israel, if they’re incarcerated. I’ll be native Indian, if the Indian has been taken. I’ll be a woman, if she’s raped and her heart is breaking.” Ja, ze heeft nog wat te zeggen ook!

Maar waar Madonna dit keer écht excelleert is toch het waanzinnige Dark ballet. Letterlijk waanzinnig, want wat hier allemaal in zit is even onnavolgbaar als moeilijk te beschrijven. Het begint nog als een van vette beat voorziene popballad, over hoe ze zichzelf is gebleven, ondanks de razende wereld om haar heen. Vervolgens volgt er een geheel onverwachte klassieke piano. Het mafste moet dan nog komen, want dat is het flard uit De notenkraker van Tsjaikovski met een onheilspellend stukje spoken word via autotune. Ja, gedurfd! En of het mooi is, is ook weer de vraag. Maar het over dit knotsgekke experiment hebben is beter dan haar vocale capaciteiten live bespreken. Veel meer des Madonna’s ook.

Titel: Madame X

Artiest: Madonna

****

De Telegraaf

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Madonna: very pleased with my Eurovision performance (Dutch article AD, interview tomorrow)

Controverse over haar valse zang of niet, Madonna kijkt met een voldaan gevoel terug op haar optreden tijdens de finale van het Eurovisie Songfestival in Tel Aviv. 

In een interview dat morgen op deze site verschijnt, zegt ze over haar afgekraakte versie van Like a Prayer: ,,Ik was er ontzettend blij mee. Ik heb precies gedaan wat ik bedacht had te doen. Ik heb precies de show gegeven die ik had willen geven. En ik ben erg trots op de boodschap die ik heb overgebracht. Namelijk die van vrede tussen de Palestijnen en Israël (twee van Madonna’s dansers droegen Palestijnse en Israëlische vlaggen op de rug, red.) Dáár was ik voor gekomen.’’
Ook spreekt Madonna over de Nederlandse winnaar van het Eurovisie Songfestival: Duncan Laurence. Ze heeft zijn optreden in Tel Aviv gezien en was erover te spreken. ,,Hij heeft een goede stem. And he’s cute.’’

In het interview, naar aanleiding van het vandaag verschenen 14de studioalbum Madame X, vertelt ze verder over haar tijd als voetbalmoeder in Lissabon, haar gedachten over Donald Trump (‘Die moet de gevangenis in’) en haar nieuwe strijd tegen leeftijdsdiscriminatie. ,,Als vrouw word je blijkbaar geacht na een bepaalde leeftijd geen lol meer te maken. Het is simpelweg seksisme. Toen ik vorig jaar 60 werd, leek het wel alsof ik een misdaad had begaan. Tegen die houding wil ik vechten.’’

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Madonna: It would be easier for my kids if they had another mother

Madonna has said it would be “less challenging” for her children if they didn’t have her as a mother.

The Queen of Pop, 60, said her six children sometimes found it difficult having a world-famous musician as a parent.

Madonna with Graham Norton, Sir Ian McKellen, Danny Boyle, Lily James, Himesh Patel and Sheryl Crow (PA)

Madonna has two biological children, daughter Lourdes and son Rocco, and four adopted children from Malawi – David, Mercy and twins Estere and Stella.

She also admitted to feeling anxious ahead of her upcoming world tour, which includes a string of shows at the London Palladium.

Asked if she felt excited, she replied: “Of course. I’m feeling anxiety right now. Every time feels like the first time.”

“I can see everyone (in London) and they can see me, which you can’t in a stadium or sports arena.

“I want to do something different. It’s very theatrical and intimate. I’m nervous.”

She also rubbished rumours that a biopic of her life is in the works.

She said: “If there ever is one, I’ll be directing it. I warn any director who tries to make one, there will be a mysterious death!”

The Like A Prayer singer is preparing to release Madame X on June 14.

Last month, she played a two-song set at the Eurovision Song Contest in Israel amid calls for her to boycott the event.

Madame X, her 14th album, was conceived in Lisbon, Portal, after she moved there so her son David could attend a football academy.

She said she had unexpectedly found herself becoming a “soccer mum”.

“I surprised myself,” she said.

“Barcelona and Turin were an option, but I couldn’t see myself living there. It would have been a lot easier if he’d liked music!”

Asked if she watches her son’s games, she said, “I admit I only watch when he’s playing. If he’s on the bench, I’m on my phone.”

The Graham Norton Show is on BBC One at 10.35pm on Friday.

– Press Association

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Promoter Arthur Fogel Dismisses Madonna Tabloid Reports As ‘Absolute Lies’

Nothing like a poorly researched tabloid story to incur the ire of one of the most esteemed executives in the live business. The New York Post ran a story on Madonna’s Madame X Tour with the provocative headline “Madonna’s Upcoming Tour Tarnished by Sluggish Ticket Sales,” claiming hundreds of tickets had gone unsold. 
 
“It’s just absolute lies,” an incensed Arthur Fogel told Pollstar, referring to the inaccuracies strewn throughout the story. This, according to the Live Nation chairman of global music and president of global touring, includes the writer’s lack of knowledge of how ticketing works, misstating of Madonna’s past touring numbers and a pattern of the newspaper attacking Madge.
 
“There’s something really amiss there,” Fogel said. “If you go back in history, each of her last four tours, they’ve gone on full attack mode on Madonna.” 
 
In its broadside, the paper claimed, “hundreds of seats were still available for each gig” based on Ticketmaster’s interactive seat map as a sign of poor sales. 
 
But Fogel, who spoke with the writer, Richard Morgan, asked if he understood Ticketmater’s Verified Fan platform, intended to keep tickets out of the hands of scalpers and into the hands of fans, which he apparently didn’t. 
 
“With verified fan, you register and the point is to try and protect as many fans as possible from scalpers getting tickets if you just put them on sale. So, we get all these registrants and at the end of registration period, you do a cleanse because you have algorithms to get rid of duplicate credit cards, people trying to scam blocks of tickets and all that sort of stuff.  After all the registrants were satisfied with tickets, we had a few thousand tickets left so we put them on sale Monday morning” 
 
The article also compared Madonna’s “Madame X” tour, which is built on vast underplays at theaters, with her last “Rebel Heart Tour” which the Post claimed “often drew more than 30,000 fans for a single performance.” 
 
“You do realize that they were 82 shows on Rebel Heart and there was only one show with a capacity greater than 14,000,” Fogel asks rhetorically. 
 
Fogel also took exception to the story’s insinuation that rolling out the shows hadn’t been thought out. 
 
“Look I’ve been doing this for a long time, pretty successfully,” says Fogel understatedly, and who has worked massive tours by U2, Lady Gaga, Justin Timberlake and Sting among others. “So I started with seven [Madame X] shows and then I announced another five, so I’m at 12. Then, I announced another five and I’m at 17. Now, is there some business model that says you add shows when you’re failing? Because if there is, I’ve never seen it. I’ve gone backwards in my career but I’ve never added shows because they’re not selling.” 
 
It’s not the first time media, pundits and others have erroneously mischaracterized successful tours. Last year several outlets claimed Taylor Swift and Jay-Z and Beyonce’s tours weren’t selling tickets because of deeply discounted tickets on the secondary market and/or empty seats in the upper echelons or arenas and stadiums. 
 
Those tours, however, had record-setting grosses and most of that inventory sold but ample supply meant scalpers couldn’t cash in on pent-up demand.  Furthermore Swift grossed $345 mil. and sold 2.88 mil. tickets, good enough for No. 2 on Year End Worldwide chart; and  Jay and Bey came in at No. 3 with $254 mil. Gross and 2.16 million tickets sold. 
 
One look at the Material Girl’s Pollstar Boxoffice report dispels any notion of lack of demand for her shows. With 245 headline reports, her average gross is nearly $5.2 million a with an an average of 38,997 tickets sold, with many reports being multiple shows per venue.
 
“It’s astounding to me.” Fogel adds, “that a business writer would have no clue about our business and people keep putting out stories like this.” 
 
Pollstar reached out for comment from the Post but did not hear back at press time. 
 
More at Pollstar
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Madonna Takes A Weird, Wild Ride on ‘Madame X’ ***

madonna madame x

Madonna’s ‘Madame X’ is so admirably bizarre, all you can do is stand back and watch the girl go.

Steven Klein*

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 — the wildest move she’s made since I’m Breathless, where she trapped “Vogue” in a maze of camp show-tunes. Every track on Madame X overflows with experiments no other pop star on earth would have the chutzpah to try.

“Madame X” is the name she says Martha Graham gave her when she acted up in dance class, and as she’s explained, “Madame X is back to her roots, OK? She doesn’t care. Zero you-know-whats.” She made it with Mike Dean, her collaborator on 2015’s Rebel Heart, and Mirwais Ahmadzai, who co-produced one of her best ever (2000’s Music) as well as American Life. She throws down with Quavo, Diplo and Rae Sremmerd’s Swae Lee.

Weirdest of all, there are truly great Madonna moments all over Madame X. Especially “Crave,” a love song with florid acoustic guitar where she plays down the accent and gets lost in emotion. “Come Alive” has that “Cherish” girl-group flair, while “Crazy” toys with old-school Massive Attack trip-hop. (“I bend my knees for you like a prayer” — hey, where have we heard that before?) But with her typical nerve, she buries the strongest songs deep in Madame X. To reach them, you have to endure disasters like “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.”

Madonna has a long history with Latin America and its music, going back way before “La Isla Bonita.” Her first hits bubbled out of a Latina context — her debut was a New York freestyle record forged on the floor of the Fun House. On Madame X, she attempts musical languages beyond what she’s tried before. “Came from the Midwest / Then I went to the Far East,” she confesses amid the piano and tablas of “Extreme Occident,” the most touching and vulnerable ballad here. It’s a revealing moment — she’s always been a musical traveler, a Bowie-style lodger who’s roamed all over the world and left every place. (Or, as another great Detroit rocker once put it: she is the passenger.) No wonder she cops to “a mix of lucidity and craziness.” Her only roots are on the dance floor. But if she had any shame about making people cringe, she never would have made it to the Fun House, let alone where she went from there.

There’s something gratifying about the way the music on Madame X 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.

***

More at RollingStone

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Madonna: ‘I wanted to be somebody – because I felt like a nobody’

She wanted to rule the world – and did. Madonna looks back on four decades of fame, why the music industry needs a #MeToo moment, and her still insatiable ambition

And yet it’s not just hindsight that makes the viewer realise something big is about to happen to her career. After she mimes to Holiday, the audience won’t stop screaming and cheering: Clark has to plead for quiet so he can interview her. Answering his questions, Madonna is funny and flirtatious and very, very confident. He asks her what her ambitions are. “To rule the world,” she answers.

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Madonna appearing on American Bandstand in 1984.

Thirty-five years on, Madonna laughs when I mention it. “Yes,” she nods. “Sorry for saying that.” The thing is, she says, she wasn’t confident at all back then: it was all a front. “I may have been insecure, I may have felt like a nobody, but I knew I had to do something. If I was going to make something out of my life, I had to, you know, hurl myself into the dark space, go down the road less travelled. Otherwise, why live?”

You clearly do. The Madonna that sits before me, perched on an overstuffed sofa in a swish hotel not far from the house she owns in central London, certainly doesn’t give the impression of being a woman terribly plagued by insecurity: a solitary wobble comes when talk turns to her then-forthcoming appearance on Eurovision, a venerable television institution almost unknown in the US and that, it quickly becomes apparent, Madonna has never actually seen. “Well, Jean-Paul Gaultier is obsessed with it,” she shrugs.

Her unexpected, apparently unresearched and ultimately divisive plunge into the world of Ding-a-Dong, Dana International and nul points pour le Royaume-Uni notwithstanding, she radiates starry self-assurance. And why wouldn’t she? A list of her achievements in the intervening 35 years includes becoming the bestselling female artist ever, the most successful solo artist in the history of the American charts, the highest-grossing solo touring artist ever and, as she dryly notes, “still being alive”, her only real competition for the title of most legendary pop artist of her era, Michael Jackson and Prince, having both prematurely passed away.

Sometimes when she talks, she unmistakably sounds like a pop star forged in a different era. She is “dizzy” at the sheer turnover of pop in the digital age – “There are so many distractions, so much noise, so many people coming and going so quickly, it takes away the artist’s ability to grow” – and says the modern way of writing pop songs, where artists are thrown together with a rotating cast of random star producers and writers at songwriting camps, didn’t suit her at all. “Oh, I tried that on MDNA and Rebel Heart. I worked with a lot of talented people, but it’s too hard to have a vision when you work with so many people: there’s so much input. I didn’t enjoy the process at all. Sometimes it was great, but it’s very weird to sit in a room with strangers and go: ‘OK, on your marks, set, write a song together!’ You have to reveal yourself, you have to be vulnerable, and it’s hard to do that right away.”

Full article at The Guardian

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Madonna Introduces ‘Madame X’: ‘Honesty Is A Commodity Right Now’

 

Madonna’s latest album, Madame X, is due out June 14.

Steven Klein/Courtesy of the artist

Material Girl. Veronica Electronica. The Queen of Pop. Madonna has taken on many names and personas over the course of her career. Now, with the release of her 14th studio album on June 14, the pop icon dons yet another. This alter-ego shares her name with the record’s title: Madame X.

According to the artist, Madame X has multiple identities — a dancer, a professor, a head of state and a housekeeper, to name just a few. All of these identities are explored throughout the album. Madonna’s refusal to be pinned to a single role can be heard in the video for “Medellín,” the album’s lead single, a duet with Colombian singer/songwriter Maluma.

“I just feel like that’s kind of been my journey in life,” Madonna told NPR’s Lulu Garcia-Navarro about the story of this album, which comes four years after its predecessor, 2015’s Rebel Heart, and breaks from past expectations in notable ways. In Madame X, Madonna sings in Portuguese and Spanish in addition to English and highlights multicultural influences that she’s encountered while she’s been living in Lisbon, Portugal. In addition to Maluma, the album features collaborations with Swae Lee, Quavo and Brazilian singer Anitta.

Garcia-Navarro spoke with Madonna from London about some of the creative forces behind Madame X, from experiences she’s had in Lisbon to her Catholicism-filled childhood in the Midwest. Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.

This interview has been edited for length and clarity.

Full article at NPR

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The Guide to Getting Into Madonna, Holy Mother of Modern Pop

She’s a true original with a decades-deep catalog, so ahead of the release of ‘Madame X,’ here’s a streamlined guide to her restlessly creative and game-changing career.

Though Madonna’s been called the “Queen of Pop” for the majority of her 37-year recording career, in a way she’s also strangely underrated. “People have always been trying to silence me for one reason or another, whether it’s that I’m not pretty enough, I don’t sing well enough, I’m not talented enough, I’m not married enough—and now it’s that I’m not young enough,” she told British Vogue recently.

 
But since 1978, when she relocated from Bay City, Michigan to New York with just $35 in her pocket, according to legend, Madonna has insisted on speaking her truth. “I’m tough, I’m ambitious, and I know exactly what I want. If that makes me a bitch, okay,” she famously said in a 1992 People interview. Her ability to adopt different personas and attention-grabbing scandals have been well-documented, even when critics haven’t fully appreciated the creative risks they involve. Her 1992 Sex book remains the only glossy coffee table tome to show a pop superstar simulating S&M and analingus. Because Madonna is a button-pushing figure whose body has been scrutinized as much as her work, her music’s sheer pop brilliance often gets sidelined, too.
 
Full article at VICE
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Madonna – Madame X (★★★★): Het beste van Madonna in jaren (Belgium review)

Game of Thrones mag dan wel sinds enkele weken afgelopen zijn, Queen of Pop Madonna probeert haar troon opnieuw te veroveren met haar nieuwste albumMadge heeft zeker en vast haar stempel gedrukt op de muziekscène en liveshows voor eeuwig veranderd. Ze heeft zichzelf sinds 1983 verschillende keren heruitgevonden en gooide het regelmatig over een andere boeg. De ene keer had dit wat meer succes dan de andere keer. Madonna heeft naast het maken van muziek en grootse liveshows ook in vele films geschitterd. Evita en Desperately Seeking Susan zijn slechts twee films waarbij ze voor de camera stond. Bij de film W.E. was Madonna dan weer in de regisseursstoel te vinden. De Queen of Pop heeft ook enkele (kinder)boeken op haar naam staan en een eigen goede doel opgericht voor weeskinderen ten gevolge van aids in Malawi.

Toen Madonna negentien was en ze danslessen volgde zei haar danslerares op een dag: ‘Je komt elke dag naar de les en ziet er elke dag anders uit. Je hebt elke dag een andere identiteit en je bent een mysterie voor mij. Ik ga je Madame X noemen.’ Veertig jaar later heeft Madonna besloten haar nieuwste album Madame X te noemen en haar nieuwe alter ego diezelfde naam te geven. Op haar Instagram deelde Madonna dat Madame X een geheime agent is met vele identiteiten. Een danseres, een professor, een moeder, een heilige, een hoer en zoveel meer. Madame X heeft vijftien identiteiten en het toeval wil dat er net vijftien nummers op het nieuwe Madonna-album staan.

Op Madame X focust Madonna zich vooral op trap, een genre dat duidelijk in de lift zit. Madonna woont intussen enkele jaren in Portugal en liet zich inspireren door de mensen die ze daar ontmoet heeft. Madame X is een smeltkroes van culturen. Met invloeden uit Afrika, Latijns-Amerika en het Iberisch schiereiland lijkt Madonna een vrouw die van alle markten thuis is. Verder krijgen we onder andere ook een Portugees zingende Madonna te horen en Maluma rapt dan weer in hetSpaans op onder andere leadsingle “Medellín“. Over het album verspreid vinden we nog een handvol rappers terug, en daarnaast ook Batukadeiras, een koor dat zingt zoals de traditie in Kaapverdië dat wenst. Opgesomd lijkt het allemaal misschien wat veel, maar in tegenstelling tot Madonna’s vorige album is de samenhang tussen de nummers op Madame X een pak groter. De vele invloeden op het nieuwste album van de Queen zijn mooi verdeeld over het album en dat geeft een uitgebalanceerd resultaat.

Voor de albumcover liet Madonna zich duidelijk inspireren door Frida Kahlo. Hoewel haar mond dichtgenaaid lijkt te zijn heeft ze heel wat te zeggen. Op de tweede single van het album, “I Rise“, richtte Madonna zich al tot de Amerikaanse regering over de wetten in verband met wapenbezit. De verschijning van Madame X op het podium van het Eurovisie Songfestival bleef ook niet onopgemerkt. Naast een nieuwe versie van “Like a Prayer” zong Madonna tijdens “Future” dat onze soort, de mens, niet leert uit zijn fouten. Tijdens “Dark Ballet” had Madonna het dan weer over het feit dat ‘ze’ denken dat we naïef zijn. Op de discomuziek van “God Control” deelt Madonna ons mee dat Madame X onze wake-up call is. ‘We only got four minutes to save the world’, klonk het al in 2008.

Er is ook ruimte voor luchtigere nummers zoals “Crave“, “Crazy” en “Bitch I’m Loca”. Nummers over liefde vinden we terug op eender welk album van eender welke artiest en dus ook op Madame X. Tussen de trap door vindt Madonna ook nog wat ruimte voor een ballade waarin ze om genade vraagt. Madge zet ons aan het denken met teksten als ‘Can you tell the truth when you live lies?’, maar tijdens “Killers Who Are Partying” zoekt de zangeres dan weer de grens op met haar teksten. Wat begint met ‘I’ll be the gay, if the gay are burned’ evolueert tot ‘I’ll be the Islam, if Islam is hated’. Tijdens “Come Alive” haalt de Queen of Pop het zelf al aan: ze heeft geen nood aan onze mening. Al sinds het begin van haar carrière zegt Madonna haar gedacht en het ziet er niet naar uit dat ze hier mee zal stoppen. Om de Queen of Pop nogmaals te citeren: ‘Don’t tell me to stop’.

Naast de politieke teksten en muziek met invloeden van over de hele wereld is er nog een zeer opvallend iets aan Madame X. We weten al langer dan vandaag dat Madonna niet de stem van Adele heeft, maar zelfs Cher wordt jaloers als ze hoort hoeveel autotune Madonna tijdens bepaalde nummers gebruikt. Langs de andere kant past dit dan weer wel bij de sound van de plaat. Madame X is door die trapsound zeker en vast een album dat opvalt tussen Madonna’s andere werk. Net als Ray of Light (1998) zou je deze plaat een buitenbeentje kunnen noemen. Als we naar de inhoud gaan kijken ligt het album dan weer in de lijn van het ondergewaardeerde American Life (2003) en het overgeproducete Rebel Heart (2015).

Madonna heeft zichzelf opnieuw weten te vernieuwen door voor trapmuziek te kiezen. Dat en de invloeden van over de hele wereld weet de Queen of Pop mooi uit te balanceren. Madame X vormt ook een mooi geheel, in tegenstelling tot Rebel Heart (2015). Om af te sluiten halen we een deel van Madonna’s Instagrambericht er opnieuw bij: ‘Madame X is a secret agent. Traveling around the world. Changing identities. Fighting for freedom.’ Maanden geleden vertelde de Queen het ons al, maar Madame X neemt inderdaad vele identiteiten aan op haar album. Van nummers over liefde tot nummers over politiek en de de mensheid die zich in tegenstelling tot de ezel wel opnieuw blijft stoten tegen dezelfde steen: Madame X gaat geen enkel onderwerp uit de weg en neemt geen blad voor de mond. Sommige teksten zullen commotie verzaken, maar voor Madonna is dat gewoon ‘human nature’.

Madame X is zonder twijfel het beste werk dat Madonna in jaren heeft uitgebracht.

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Madonna Introduces ‘Madame X’: ‘Honesty Is A Commodity Right Now’

"Honesty is a commodity right now, because if you tell the truth, you might offend people. People don't like to hear the truth," Madonna says. (Steven Klein/Courtesy of the artist)
“Honesty is a commodity right now, because if you tell the truth, you might offend people. People don’t like to hear the truth,” Madonna says. (Steven Klein/Courtesy of the artist)

Material Girl. Veronica Electronica. The Queen of Pop. Madonna has taken on many names and personas over the course of her career. Now, with the release of her 14th studio album on June 14, the pop icon dons yet another. This alter-ego shares her name with the record’s title: Madame X.

According to the artist, Madame X has multiple identities — a dancer, a professor, a head of state and a housekeeper, to name just a few. All of these identities are explored throughout the album. Madonna’s refusal to be pinned to a single role can be heard in the video for “Medellín,” the album’s lead single, a duet with Colombian singer/songwriter Maluma.

Full article at wbur

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Madame X Is The Best Madonna Album In A Long Time

“Hey young people – you’re getting older every second. It’s what we do. One day someone will tell you to stop and you’ll be all like ‘fuck you’ just like Madonna.” That was former Savage Garden frontman Darren Hayes on Twitter the night of the Billboard Music Awards. Madonna and Colombian reggaeton star Maluma had just performed “Medellín,” the lead single from her new album, Madame X. In keeping with the project’s premise about a secret agent who travels around the world changing identities “fighting for freedom” and “bringing light to dark places,” the duet partners danced and sang amidst a trippy hologram display featuring multiple iterations of Madonna doing the cha-cha.

This was the sort of awards-show spectacle Madonna helped to invent — not as memorable as her iconic VMAs moments stripping out of a wedding dress and kissing Britney Spears, but entertaining and elaborate and cheeky in her signature fashion. She established many such templates during a good solid quarter-century of blazing trails and making hits. She almost singlehandedly carved out the modern pop-star archetype, endlessly reinventing herself and becoming a transformative figure in the sexual revolution. Before Britney and Katy and Taylor — and long before “nasty women” became a catchphrase in a presidential race that deteriorated into show business — there was Madonna, loud and proud and gleefully blasphemous.

She’s an undisputed legend who these days is just as often a punchline, largely thanks to her refusal to “retire with dignity.” That chorus of jeers picked up again the night of the Billboard Awards. Hayes had apparently encountered the usual chatter that accompanies Madonna’s every public action these days, the calls to hang it up and the jokes that imply as much, so he responded with an appeal for sympathy by way of the golden rule. Although his own moment in the spotlight was brief compared to Madonna’s peerless run, he surely knows what it’s like to be laughed at for having the nerve to continue your career when the zeitgeist moves on.

Read full article at Stereogum

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Album Review: Madonna’s ‘Madame X’ (Variety)

Here’s a little-known pop-diva fact: Madonna used to have nightmares about Whitney Houston. In a 1995 “Primetime Live” interview, she described a dream she had in which she learned that her greatest ’80s chart rival’s then-latest single, “Exhale (Shoop Shoop),” had replaced hers, “You’ll See,” at No. 1. Meanwhile, in another room, her music teacher was humming Houston’s hit. Cue cold sweat. (Dreams don’t always come true: In real life, “You’ll See” never made it past No. 6.)

If Madonna is still watching the charts like a hawk, even in her sleep, she’s clearly no longer obsessed with ruling them. In a 36-year recording career that has found the 60-year-old walking more tightropes than the average A-list pop superstar, Madonna has delivered her most uncompromising musical statement yet with her 14th album, “Madame X.”

The rebel heart she claimed to have in the title of this album’s 2015 predecessor is beating more loudly and passionately than ever before. Freed from the need to be number one with a bullet, Madonna finally has released an entire album that lives up to her reputation as one of pop’s greatest risk-takers.The first single, “Medellín,” is a deceptively lovely opening statement that only hints at the fire raging just ahead. The comparisons that have been made to an earlier Madonna single, “La Isla Bonita,” aren’t far off, but “Medellín,” named for Colombia’s second-largest city, has sharper edges, and its Latin swirl is more jagged. Colombian reggaeton rapper Maluma adds sexual tension to the mix, and when Madonna sings “Ven conmigo, let’s take a trip,” she sounds as inviting as she did cooing about the tropical island breeze in 1987.

After that, true weirdness sets in. “Dark Ballet” and “God Control” are ambitious and sprawling, the closest Madonna may ever come to her own “Bohemian Rhapsody.” “Dark Ballet” goes from piano ballad to electro-gospel dirge to something that could pass for Edvard Grieg’s “In the Hall of the Mountain King” on mushrooms. It’s a pretty daring musical move to make only two songs in.

And then, re-enter Madonna, political rabble-rouser, the woman we first caught a glimpse of on 2003’s “American Life.” Although she never name-drops on “God Control,” which veers from mournful to hopeful to defiant in the space of its six minutes and 30 seconds, the song is emblazoned with the spirit of anti-Trump. “This is a wake-up call,” she sings under a shimmering strobelight groove, not long after admitting, “I think I understand why people get a gun.” Not that she’s really about to join the right-to-bear-arms troops; as she later raps, “The only gun is in my brain.”

“God Control” sets the primary doom-and-gloomy, politicized lyrical mood of “Madame X.” Her head may be locked and loaded, but that doesn’t mean she’s about to give Michelle Obama a run for her eloquence. Lyrically, Madonna’s political manifestos are no more sophisticated than they were 16 years ago. Her activism may be in the right place, but jejune clichés like “Open your mind” (on “Future”), “Life is a circle” (on “Extreme Occident”) and “Died a thousand times” (on “Rise”) go low when she should be aiming higher.

“Killers Who Are Partying” epitomizes Madonna’s trouble with words. “I know what I am, and I know what I’m not,” she sings, as if all too aware that she’ll be excoriated and nailed to the cross for swerving way outside of her lane with lyrics like “I will be gay, if the gay are burned / I will be Africa, if Africa is shut down / I will be poor, if the poor are humiliated.”

In her defense, it would be a somewhat unfair crucifixion. Madonna wasn’t always a rich, white woman. She came from nothing and triumphed, against all odds, in an industry ruled by predatory alpha males. Just because she now lives in the penthouse doesn’t mean she doesn’t remember what it felt like to be the girl from the gutter, or that she can’t express empathy and solidarity without pity.

Thankfully, the Midas touch of her old collaborator Mirwais still sparkes. He shares “Madame X” production credits with Mike Dean, Diplo, Billboard, Jason Evigan and Jeff Bhasker, and they’ve crafted solid state-of-the-art backdrops for Madonna’s musings. The electro gurgles, worldbeat flourishes and Madonna’s still-effective vocal presence (occasionally courtesy of AutoTune) make these 15 songs sing.

“Madame X” is best, though, not when it goes all CNN on us but when it plays primarily like a musical travelogue, taking us to magical mystical places so fascinating that we might not even notice the stormclouds overhead. The electronic cha-cha swing of “Medellín” sounds like it was sun-kissed on the Cartagena coast before taking the love train south. “Batuka,” one of the album’s highlights, kicks off with Burundi-ish drumming and settles into a tribal rhythm that beats like Paul Simon’s “Graceland” relocated from Africa to South America.

The lyrical conceit of “Killers Who Are Partying” might have stopped it dead in its tracks if it weren’t for the fado flourishes that flutter over it like a ribbon of darkness. No one will ever mistake Madonna for fado legend Amalia Rodrigues, but if she were singing in Portuguese, “Killers” wouldn’t sound so out of place on a Madredeus album. She’s been spending a lot of time in Lisbon, and the Portuguse influence is all over “Madame X.”

She and Brazilian pop superstar Anitta perform “Faz Gostoso” mostly in Anitta’s native tongue, and the reggaeton jam is the best of the album’s five vocal mash-ups. Anitta offers a far more interesting female counterpoint to Madonna than her previous distaff collaborators Britney Spears (on “Me Against the Music”) and Nicki Minaj and M.I.A. (on “Give Me All Your Luvin’”).

Despite frequent forays into foreign languages (Spanish and Portuguese), “Madame X” isn’t all musical exoticism. The white-girl hip-hop of “Crave” wouldn’t sound out of place on Ariana Grande’s latest album, and if it weren’t for the line “I’ll bend my knees for you, like a prayer” (one of several musical nods to the 30-year-old smash), “Crazy” could be a lost J.Lo ballad, which is not a good thing.

“Like a Prayer” is the strongest musical antecedent here, but “Madame X” is packed with meta-Madonna moments. In addition to the lyrical “Prayer” nod on “Crazy,” “God Control” and “Batuka” feature backing choirs right out of the “Prayer” outro, while “Future” quotes “Don’t Tell Me” from 2000’s “Music.” “Extreme Occident” moves the self-referencing inward, chronicling Madonna’s journey from “the far right … to the far left” and “from the Midwest … to the Far East.” It’s a tad clunky, but then the singer’s trajectory has been, too.

Not surprisingly, when introspective Madonna gives in to the dance diva within, “Madame X” is a smoother ride. If pop radio were more hospitable to galloping robo-pop techno punctuated by mariachi horns and sung by women over 50, “Come Alive” might be an anthem of the summer. And for those who miss her confessions on a dance floor, “I Don’t Search, I Find” is pure ’90s disco bliss, the album’s only non-stop party.

But you likely won’t hear any of this playing on a radio near you. That’s what makes “Madame X” Madonna’s best album since “Confessions on a Dance Floor.” She’s confessing again, but this time, she’s not interested in editing herself for mass consumption. “Bitch I’m Loca” she announces on the album’s second Maluma duet (not to be confused with “Bitch I’m Madonna” from “Rebel Heart”). She’s not kidding, and her crazy is an incredible sound.

More at Variety

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Madame X Releaseparty at Concerto – the goodiebag! (full report and gallery tomorrow)

Thank you all for coming to the Dutch Madame X release party at Concerto! There was a huge turn up and therefore we ran out of posters very fast (sorry), but I hope everyone got their desired item(s).

Will write a full report tomorrow along with a photo gallery. Here’s an example of the exclusive Madame X goodie bag that was only available for this event.

If you want one, stay tuned as we soon will be offering one through a giveaway! 

Contents of the bag are:

  • Special postcard set in envelope
  • square postcard
  • bookmark (double sided)
  • Releaseparty laminate
  • the bag!
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Review: We get an Exclusive Sneak Peak at Madonna’s New Album

Paul Nolan runs the rule over the excellent Madame X, on which the pop icon successfully incorporates political and social commentary

Madonna’s latest reinvention finds her taking on the guise of Madame X, an embodiment of female empowerment who, in the singer’s own words, acts variously as “A dancer. A professor. A housekeeper. An equestrian” – and more.

There is a notable political dimension to the album, with Madonna regularly alluding to the tumultuous times in which we live. On ‘Killers Who Are Partying’ – half acoustic ballad, half skittering electro workout – she champions a variety of progressive causes: “I will be gay if the gay be burned… I will be Africa if Africa is shot down”.

On up-tempo disco-pop number, ‘God Control’, meanwhile, she says simply, “Honour democracy” (she also sings the striking line “That dope I don’t smoke it’s true”). Musically, Madame X boasts a variety of infectious electro grooves courtesy of a production team that includes Diplo and Madonna’s long-time collaborator, Mirwais. There are also a variety of Latin and world rhythms throughout, an element influenced by the singer’s relocation to Lisbon, where her son hopes to become a professional soccer player.

Madame X kicks off with the hypnotic electro/Latin pop number ‘Medellin’, which finds Madonna establishing the album’s upbeat, optimistic tone: “I took a pill and had a dream / I went back to my 17th year / Allowed myself to be naive”. ‘Dark Ballet’, meanwhile, pretty much does what it says on the tine, musically speaking, with Madonna giving ‘The Nutcracker Suite’ a synth-pop makeover influenced by Wendy Carlos’ celebrated score for A Clockwork Orange.

Other highlights of this hugely enjoyable outing include the skanking reggae number ‘Future’; the afrobeat-influenced ‘Batuka’; the electrifying dance workout ‘Fez Gustovo rev 1’; and the celebratory ‘I Don’t Search I Find’ – the title of which could be a manifesto for Madame X.

The album comes to a close with the stirring ‘I Rise”, on which Madonna defiantly states “I rise above it all”. To promote the record, this autumn Madonna will be playing intimate theatre residencies in a variety of American and European cities.

She’ll no doubt be including a generous helping of material from this wonderfully accomplished and eclectic effort.

More at Hotpress

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