Madame X Reviews: Slant and MusicOMH
More Madame X reviews have been published online ahead of the album release this coming Friday.
Slant Magazine calls Madame X “a fearless, eccentric musical memoir – the album is the work of an artist reawakened, and one who’s got something to say” and rates it 4 stars out of 5. Check out the full article here.
Madonna has a reputation for being a trendsetter, but her true talent lies in bending those trends to her will, twisting them around until they’re barely recognizable, and creating something entirely new. The album’s pièce de résistance, at least in that regard, is the six-minute “God Control,” which begins with Madonna conjuring the spirit and disaffected monotone of Kurt Cobain—“I think I understand why people get a gun/I think I understand why we all give up,” she sings through clenched teeth—before the whole thing implodes into a euphoric, densely layered samba-disco-gospel mash-up. Throughout the song, Madonna’s vocals alternate between Auto-Tuned belting, urgent whispers, and Tom Tom Club-style rapping as she takes on the gaslight industrial complex and so-called political reformers. On paper, it might sound like the ingredients for a musical Hindenburg, but—somewhere around the midpoint, when she declares, “It’s a con, it’s a hustle, it’s a weird kind of energy!”—it all coheres into the most exhilaratingly batshit thing she’s done in years.
MusicOMH says the album is “one hell of a journey: bold, bizarre, brazen and beguiling, Madame X is Madonna living her Latin American Life. Brilliant,” and rates it 4,5 stars out of 5. Check out the full article here.
Her resulting 14th album implores us to take a ride with her new persona and her many and varied guises – “a secret agent… A dancer. A professor. A head of state. A housekeeper. An equestrian. A prisoner. A student. A mother. A child. A teacher. A nun. A singer. A saint. A whore. A spy in the house of love. I am Madame X” – and the results are at once stupefying and tremendous. This record is a true cathartic journey from the expert of such travels, with brilliant past collaborator Mirwais doing much of the driving. Most of this sprawling album, sung variously in English, Portuguese and Spanish and with an astonishing array of musical flourishes, is truly experimental, and captivating with it.
