"Re-Invention" must be one of Madonna's favorite words. It was the title of her 2004 tour, and the news release for her latest album, "Confessions on a Dance Floor" (Warner Bros.), proclaims that the record "re-invents dance music for a new generation."
It doesn't say what generation that is, and she doesn't seem to be reinventing so much as retrenching. After the drubbing that met 2003's dour, sonically spare "American Life," she has scampered back to the shelter of the place she knows best: the grand, gaudy, glittering embrace of the discotheque.
"Confessions" is disco with a vengeance, a whomping, unapologetically air-headed engine of stroboscopic beats and succulent textures that exhumes dance music's time-honored values of celebration and affirmation.
What better way to signal this slant than with a sample of ABBA, whose "Gimme! Gimme! Gimme! (A Man After Midnight)" forms the spine for the party-starting "Hung Up"? From there, each track blends into the next in a riot of guilty pleasures, produced with invention and flair by Madonna and such collaborators as Stuart Price, Mirwais Ahmadzai and Bloodshy & Avant.
"Confessions" has a bratty ode to New York City, tales of forbidden love and futuristic love, empowerment anthems and an ethno-trance diversion into Kabbalah-centric introspection -- but it's short on confessions. When she does go into self-serious mode, the album loses its charm.
There's something almost wishful about the sentiments of the closing "Like It or Not," in which Madonna strikes a pose of puffed-up defiance. "This is who I am / You can like it or not / You can love me or leave me / 'cause I'm never gonna stop," she sings, as if people still got worked up about her the way they did back when she was the shock goddess pulling everybody's chain.
The world has moved on to other villains and heroes. Madonna should be happy there's a vacancy for a disco diva, and for most of this album she seems to be.
source : news&observer
Madonna News
Nov 20
Confessions On A Dance Floor - Observer Review
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