Madonna albums from this century can be divided into two categories: the Play-it-Safe albums and the WTF albums she thinks of. You may be tempted to assume that the mega-weird ones are better, but nothing is ever so easy in the Madonna universe. Confessions on a Dance Floor was her absolutely sure realization of an obvious idea – why does not the biggest disco mastermind in history just make a damn disco record? – but it was brilliant too. While the demonstrably scaly American life was demonstrably ass. This is just one of the many reasons why Madonna remains the queen of all pop queens.
Yet Madame X is so admirably bizarre that you can only sit back and watch the girl go. "It's a strange kind of energy," as she sings in "God Control" ̵
She teamed up with Colombian superstar Maluma for scandal-bait lead single "Medellin" and learned Cha-Cha-Cha's shaky new accent. It has been proven that Medellin has much more to offer. Like a vocoder singing the Nutcracker in "Dark Ballet". Or the moment she sings: "People think I'm crazy / The only weapon is in my brain / Every new birth gives me hope / That's why I do not smoke this dope. "
" Madame X "is the name Martha Graham gave her in dance class and as she stated," Madame X is back to her roots. OK? She does not care. Zero you-know-whats. She did it with Mike Dean, her co-worker with Rebel Heart (19459003) (19459004) and Mirwais Ahmadzai, one of her best music productions of all time (2000) (19459003) (19459004)) as well as American Life . She throws herself together with Quavo, Diplo and Rae Sremmerds Swae Lee.
The strangest thing is that there are really great Madonna moments everywhere Madame X . Especially "Crave", a love song with a lively acoustic guitar, where she plays down the accent and loses herself in emotions. "Come Alive" has the "Cherish" girl group flair, while "Crazy" plays old-fashioned Massive Attack trip-hop. ("I bend my knees for you like a prayer" – hey, where have we heard this before?) But with her typical nervousness she buries the strongest songs deep in Madame X . To reach them, you have to endure catastrophes like "Killers Who Are Partying", where you think about political oppression: "I will be Islam if Islam is hated / I will be Israel if they are imprisoned."  Madonna Latin America and its music have a long history dating back to far beyond "La Isla Bonita". Her first hits came from the Latina context – her debut was a New York freestyle record forged on the floor of the Fun House. In Madame X she tries out musical languages that go beyond what she has previously tried. "Came from the Midwest / Then I went to the Far East," she admits in the midst of 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 resident who has traveled the world and left every place. (Or, as another great Detroit rocker put it, she's the passenger.) No wonder she finds "a mixture of clarity and craziness." Her only roots are on the dance floor. But if she had been ashamed if she had frightened people, she would never have made it to Fun House, let alone where she had gone from there.
The way in which music Madame X can trigger this familiar "worry about Madonna" sentiment. Let's face it, are not we proud of our 80's megapop idols who are still ready to act that way? Imagine going back in time to the eighties and saying, "One day, Madonna will be releasing Bitch I & # 039; m loca the same week that Bruce Springsteen releases his concept album on horses." These two legends never leave us in the Stitch. Time will tell if Madame X has endurance or not. But if you love Madonna for her shamelessness – bitch, she's loca.