DISCLAIMER: This review of the standard edition of Madonna's thirteenth studio album is extremely premature, published an entire month before Rebel Heart's official release date in March.
★ ★ ★ ★ out of 5
Following the release of 2012s sadly disappointing and underwhelming MDNA, Queen of Pop Madonna was rumored to have returned to the recording studio in early 2014 to start work on her anticipated thirteenth studio album. With the help of producers Avicii and Diplo, as well as working closely with Natalia Kills, Alicia Keys and Ryan Tedder, Rebel Heart was announced with a tentative 2015 release date.
Unfortunately, shortly after solid album news was shared to the world, the new project sprung a leak... big time. More than a dozen demos, including the confirmed lead single "Living For Love", "Messiah" and "Wash All Over Me" made their way onto the web. Madonna was pissed. After comparing the leak to "artistic rape" and a form of "terrorism", it seemed things were getting settled on her team's end. Not the case.
Early this week, the entire effort, 25 tracks altogether, were leaked (here we go again!) and fans and critics were sent into an immediate frenzy. While Madonna sounds comfortable and confident on the new album, not all tracks hit their mark completely, however, the finished product may just well be the artist's strongest full body of work in well over a decade. Yes, I'm talking about the glorious, almost perfect Confessions on a Dance Floor. Let's just forget that Hard Candy and MDNA ever happened. Deal? Moving forward.
Opening with the effort's lead single, the house, gospel, trap-sounding "Living For Love", it appears new Madonna music was worth the wait and buzz that surrounded the new album for the past year. The lead single is a solid release, although it is weighed down by loud production which overshadows the artist's always impressive vocals. It is nice to hear the artist not releasing material that simply tries to jump on all the new trends. This sounds raw, organic, fresh and personal.
"Devil Pray" comes off as a country-tinged pop track where Madonna's vocals are initially supported by an acoustic guitar as she discusses the way some people turn to drug usage to get closer to God. "Yeah we can run, and we can hide, but we won't find the answers, if you go down, you'll get help along the way," the pop queen sings on the hook before an intriguing, eerie breakdown comes to the forefront.
The brightest moment on the album comes in the form of "Ghosttown", which should be immediately service as the second single. Madonna is capable of producing a powerful pop ballad, and she does just that. The soft, somber track shows the female rebel in a vulnerable state as she sings of never wanting to be alone in a mad world. It's a sweet, sincere message highlighting a side of the artist we rarely see.
Vulnerability and the considerate nature quickly disappear on "Unapologetic Bitch", as Madonna is supported with a raggae-styled beat while delivering a hip-hop influenced performance. As she explicitly brags about the champagne she drinks and the parties she throws, the pop artist sings of not meaning to offend others as she dishes on the details of her lavish lifestyle. Hate her if you want, it seems like she doesn't really care.
With a robotic delivery on the verses, Madonna dives into the rumored world of devil worshiping among the celebrity community on "Illuminati" as she name drops stars including Beyonce, Obama, Oprah and Lady Gaga. It is a strange combinations of influences, that don't work for a cohesive track. "All seeing eye is watching tonight, nothing to hide, secrets inside," she sings on the lackluster chorus.
Madonna calls on raptress Nicki Minaj for the album's first guest appearance on "Bitch I'm Madonna". The song carries a fun, carefree vibe and Minaj's rap is an impressive addition, but for some reason, the song just falls flat as a whole. The character the artist tries to convey on the track comes off as forced and fake and the vocal alternations just distract the listener. Nothing special.
Things take a welcomed delicate turn on "Hold Tight", easily another memorable highlight from the new project. Madonna provides a soft yet strong vocal performance as she reassures herself everything will be alright, as long as her lover is by her side. "Pushed to the limit, no end in sight, I know we'll find way, tonight, hold tight," she sings on the a track with a message similar to 2009s "Miles Away".
"Joan Of Arc" is a warm and uplifting song that works in parts. While the sincere vocals and simple production are some of the best on the album, it is the songwriting this time around that keeps the effort from reaching its full potential. The chorus is slightly laughable and uneventful, even for a ballad. It's a touching, inspiring moment, it just sounds like it needed a bit more time and work.
The "WTF" moment on the album occurs when Mike Tyson's voice is unexpectedly heard in a spoken word intro on "Iconic". Weird. However, what occurs after is pretty iconic (see what I did there). The vocals on the verses sound very dance/pop, with a light techno-like background beat, but when the chorus rolls around, it takes on an edgier, hip-hop tone with Chance the Rapper's guest verse sealing the deal.
Madonna immediately gets explicit on the first few notes of "HeartBreakCity", a mid-tempo ballad where the artist reveals the truth behind her broken heart, but insists she's still marching forward. "You said it was over, wanted it to end, then you had the nerve, to say that we could still be friends," she angrily sings on the song's hook. The track is emotional, it's personal and is a standout for the artist.
Then unfortunately, things take a turn for the worse. "Body Shop" is an out of place, folk-y tune where the artist sings of a mechanic. It's hard to really know what she's singing about actually. Sex? Yeah, let's just say it's about sex. The mellow vibe does not suit the artist, nor the overall theme of the album. There's a brief moment (around the 2:10 mark) when you think things will pick up, but it doesn't happen.
Natalia Kills lends her songwriting skills for "Holy Water", a strange, hypnotizing production with futuristic beats, an abrasive vocal delivery and a risque premise. The finished product is a mysterious, dark offering which proves why Madonna is at the forefront of the pop genre. The "Vogue" sample also fits in perfectly and will send any fan into shock. "I promise you it's not a sin, find salvation deep within," she cheekily sings.
The artists gets lovey-dovey once again on "Inside Out". Immediately, the song comes across as self-reference, throwback effort ripped straight from the pages of the 90s era Madonna. It's sultry, suggestive, hard-hitting and effective. The artist succeeds when she is not trying to jump on overdone dance trends, but rather when she sets out to reinvent her sound as she's done numerous times in the past. This song is pure Madonna.
The standard edition of the new album closes out with "Wash All Over Me", one of the first tracks to leak in its demo form. This version is polished and the production has been toned down for some bizarre reason. The artist is looking to be cleansed, to start her life anew as many religious references are made through the four-minute track. It's a good song, maybe not the best way to close out though.
That's not all the new music from Madonna though. There's 11 other official tracks. On the deluxe edition, "Best Night" is a sexy, slinky bedroom jam where Madonna invites potential suitors into her playground. Kinky. On "Veni Vidi Vici", the pop queen spills numerous self-references from her long career on a hip-hop inspired number with a Nas feature. "S.E.X." sounds to have borrowed a beat from a 90s track as Madonna once again speaks about carnal lust. Unapologetic. "Messiah" is an over the top, self-righteous, soppy track that is unnecessary but in true Madonna fashion. It's strange to see a title track on the deluxe edition, but "Rebel Heart" is a shining, glorious moment for the artist with all it's inspiring words and tender production.
Opting for the "super" deluxe edition of the album? You get six more tracks. "Beautiful Scars" is a sentimental moment where the artist pulls the covers back on her relationship history. "Queen" is a slow tempo, drum-driven ballad that focuses on Madonna's pristine vocals. "Borrowed Time" is an acoustic guitar-heavy effort about living life that doesn't really fit on the album, but sounds beautiful on its own. "Graffiti Heart" shows the singer comparing love and pain to a work of art. Supported by intriguing, infectious production, this one stands out for the right reasons. "Autotune Baby" incorporates baby cries in a unpleasant manner for a track that's decent but not too memorable. The final track, "Addicted", is absolute perfection as Madonna sings of the one that got away. Single worthy.
Rebel Heart faced many problems during its creation. Hell, it's not even officially out yet. While Madonna has struggled to find her footing over the past decade, it appears she has returned to proper form on her thirteenth release. When she isn't trying to play the role of an aggressive hip-hop wannabe, she shines bright for the same reasons she grew to prominence in the 80s. The artist needs to understand that she does not need loud, chaotic production to sell albums. On the album, the ballads are the crowning moments and all deserve to be heard. Madonna is the Queen of Reinvention, the true Queen of Pop, and she proves why those titles have been bestowed upon her. The album's production is always intriguing, vocals comes off strong and forceful and most of the songwriting is golden. The artist claims she was ready to pick up her crown, put it back on her head... she did!
Tracks to Hear:
Standard edition: "Living For Love", "Ghosttown", HeartBreakCity", "Holy Water" and "Inside Out"
Deluxe edition: "Best Night" and "Rebel Heart"
Super deluxe edition: ALL OF THEM... with the exception of "Autotune Baby"
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