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une continuité de music?

:zarb: de Ray of Light, mais en carrément plus disco :transpi:

PS : apparemment, je ne suis pas le seul à faire ce rapprochement...

Herald Sun review for ''Confessions''.

Forget American Life, disco Madonna is back. And how! Confessions on a Dance Floor is her most dancetastic album since her 1983 debut:thrilling non-stop BPM action making it Madge’s very own mix tape, arguably the most anticipated miv tape in the world. Here’s a preview.

Hung Up

Joins Into The Groove and Music as her most mindlessly brilliant dance singles. Others have tried but Madonna has cleared a pricey ABBA sample - from 1979’s uber-gay disco gem Gimme Gimme Gimme (a Man After Midnight). Granted, take out the still-sounds-amazing ABBA sample and there’s not really much left, but as a statemanet of intent, this is the ideal calling cardfor the album. And, like all the other tracks, it sounds best ear-splitting loud.

Get Together

On Paper, the collaboration with Swedish hitmakers-for-hire Bagge and Peer seems dodgy; Madonna slumming it with people who write hits for all the C- list popstars Madge herself inspired. But Get Together is amazing: a huge housey club explosion mixing strings ans swampy beats. "If it’s bitter at the start then it’s sweeter at the end" Madge sings. Has to be a single.


Marked as the album’s second single and rightly so; this is Madonna’s most poptastic single since Ray Of Light. Another collaboration with Stuart Price it starts with Madonna apologising in different languages before banging beats kick your ears in. It’s a little robotic like Kylie’s Can’t Get You Out of My Head, but with kitchen-sink production. The chorus is huge, with Madge stating "don’t explain yourself ’cause talk is cheap, there’s more important things than hearing you speak." Brilliant dance-influenced pop, this will be unavoidable once the album is released.

Future Lovers

One of only two collaborations with Mirwais. It’s shamelessly pilfers from Donna Summer’s I Feel Love - all pulsating beats that virtually explode out of your speakers, with Madonna’s spoken word lyrics recalling Music’s bonkers Paradise (Not For Me).

I Love New York

The precise moment Confessions goes off the tracks. See opening line "I don’t like cities but I love New York, other places make me feel like a dork". Yes really. Up there with the cringe worthy rap on American Life and rhyming "I like to singy singy singy like a bird on a wingy wingy wingy" as her most misguided lyrical moments. Guitars crash in but nothing can save this turkey: a huge wall of sound spoiled by lyrics about Texas and "I you don’t like my attitude then F Off". What happened to potty mouth Madonna dropping the F word in full?

Let It Will Be

Continues the albums quality dip. This has a Papa Don’t Preach style intro with Madonna telling us how rubbish fame and fortune is. Again. Big chorus, low interest. The albums other Mirwais collaboration.

Forbidden Love

The closest thing to a ballad here, but hardly Live To Tell. Think a mix of Kraftwerk, Pet Shop Boys and Royksopp - more pile-driving house beats at a slightly less frantic BPM. Not so much a wall of sound as a small fence, Madonna sings about a boy and girls "intertwined hearts".


Co-written with her brother in law Joe Henry, who also made a small fortune co-writing Don’t Tell Me. It’s a little 80’s-ish, more bleeps and beats with a smooth dance sheen, but still feels like filler.

How High

This is more like it. After a lapse the album picks up again with How High. Wierdly produced by R&B kings Bloodshy and Avant, it’s far from R&B but totally brilliant. Like the rest o the album it’s all about the chorus, with layer upon layer of electro beats and more vocoder vocals. "I spent my whole life wanting to be talked about, was it all worth it, how did I earn it?" Madge asks. Also poses the question "Should i carry on, will it matter when I’m gone?". Answers on a postcard...


Kabbalah alert! Kabbalah alert! Starts with a hebrew chant and sounds like an offcut from Ray Of Light, with Madonna serving up lots of "mmmmmm" vocals a la Secret. Chewed up acoustic guitars against rapid skipping beats and lush strings create an interesting sound.


With call-and-response lyrics about how hubby Guy Ritchie pushes her to be better, it’s a little world-musicy and slightly claustrophobic. Producer Stuart Price was a great choice - he makes this album sound amazing.

Like It Or Not

Prowling beat and flow not unlike her cover of Fever, this is a strong closer with Madonna name-checking Cleopatra and Mata Hari. As you do.

The Verdict:

Not up with her classics Like a Prayer and Like a Virgin, COAD is still a huge return to form. With her latest surprise-but-perfect collaborator Stuart Price, Madonna again proves she knows how to surround herself with the right people. Tapping in to dance culture , but also reinventing her disco roots, it’s the type or record doubters would put past a woman pushing 50. But once again, Madge knows you can dance for inspiration. Come on, she’s waiting for you.

Rating: **** (4 stars) :transpi:

Edited by Charles.w
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