GRAB MUSIC
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Q-Music: Dance diva confessions
By Gregg Shapiro
Let’s be blunt here. Madonna has been desperately seeking a comeback following her misspent
years on Interscope, which produced three inferior albums in seven years. Beginning with the
embarrassing “MDNA” and concluding with the daring “Madame X.”
Returning to the Warner fold, the label family that operated Sire during her early years, and then released her output through 2008, Madonna has released her most accomplished album in years with “Confessions II” (Warner). Sonically pleasing, lyrically revealing, and self referential, it’s a necessary return to form.In the seven years between studio albums (Madonna’s longest gap), other artists, both long established (Kylie Minogue) and next generation (Lady Gaga, Beyoncé, Robyn, and Jessie Ware), overtook Madonna’s reign. With “Confessions II,” the pride of Bay City, Michigan, reclaims the mantle. Not an act of desperation to remain relevant, as much as it is a reminder of her ability to establish trends. Available in multiple formats, including double LP translucent pink vinyl, as well as CD, Madonna and co-producer Stuart Price (who also produced most of 2005’s less exhilarating “Confessions on a
Dancefloor”), get things started by inviting us into the musical confessional of “I Feel So Free,”
which subtly nods to Giorgio Moroder. “Good For the Soul” gallops along with a “Ray of Light”
shimmer and “One Step Away” intends to make dancing a religious experience. Wisely teaming up with Sabrina Carpenter on “Bring Your Love,” Madonna has finally found a duet partner worthy of her vintage vibe. Speaking of vintage, the namedropping “Danceteria” (not to be confused with the new Soft Cell song of the same name) not only recalls “Vogue,” but also Blondie’s “Rapture” and Lady Gaga’s “Born This Way.” It’s as much a tribute to the legendary venue as it is to Madonna herself. “Everything” borders on mind-blowing, and Madonna brings house music home on “Love Sensation,” and then literally pays tribute to the genre (and others) on “Love Without Words.” Madonna gets serious as the
album reaches its conclusion. “Fragile,” “My Sins Are My Savior,” and “Betrayal” fit the confession
theme like kid gloves. On “The Test,” a duet with her daughter Lourdes (aka Lola Leon), Madonna displays unexpected vulnerability. Gorgeous album closer “L.E.S. Girl” brings “Confessions II” to an end on an emotional high note. Mentioned above, Jessie Ware continues to blossom into a divine dance-diva with “Superbloom” (EMI). Ware, who is in possession of an impressive set of pipes, knows her way around this set of blue-eyed soul bangers. We could all easily get used to the retro disco of “I Could Get Used To This, “Automatic,” “No Consequences,” and the title cut. “Mr. Valentine” goes for the heart of the dancefloor and “Sauna” is as steamy as it is funky. Co-written by Ware and Jake Shears
(of Scissor Sisters fame), the fabulous “Don’t You Know Who I Am?” asks a question listeners will
want to answer, while “Ride” borrows an irresistible riff from the Ennio Morricone’s “The Good, The
Bad & The Ugly” theme, and “16 Summers” gives Ware the chance to show off her chanteuse chops.
Toronto-based, Polaris Music Prize-winning electro artist Debby
Friday goes full on rave diva on her second full-length album “The Starrr of the Queen of Life” (Sub Pop). Friday practically dares listeners to sit still on the suitably titled “All I Want To Do Is Party,” “In The Club,” “Darker The Better.” She flashes her experimental, yet accessible, side on
“Lipsync,” and reveals a taste for the exotic on “Higher.” “Arcadia” incorporates
multiple rhythms, and “Bet On Me” stirs up some good old-fashioned drum ‘n’ bass nostalgia.
Although there doesn’t appear to be any consensus online about how to spell her name, K Á
R Y Y N (or KÁRYN) nevertheless takes listeners on an unforgettable electronic journey on “Physics
Universal Love Language” (Mute). “Elsewhen” goes straight for hips and guarantees a workout. There’s an undeniable magnetism to “Pull” (aka the acronym of the album’s title), and album closer “FWD”
moves dancers forward, up and down, back and forth, and side to side.
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