{"id":39655,"date":"2006-02-21T00:00:00","date_gmt":"2006-02-21T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/music-3\/"},"modified":"2006-02-21T00:00:00","modified_gmt":"2006-02-21T00:00:00","slug":"music-3","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/music-3\/","title":{"rendered":"Music"},"content":{"rendered":"

<\/p>\n

After Madonna’s collaboration with techno producer
\nWilliam Orbit on the electronica-pop Ray Of Light<\/i>, she has
\ntaken a similar route with the follow-up Music<\/i>, on which she
\nworks with French techno man Mirwais Ahmadzai on the bulk of the
\ntracks.<\/p>\n

Though Music<\/i>‘s underlying style is the same as
\nits predecessor, it is more buoyant and brisk and far less intense.
\nIt is a racy club record, whose main aim is to be carefree and
\nparty hard, which is not the case with its rather contemplative
\npredecessor. The Ahmadzai-produced songs on Music<\/i> have
\ndistinct similarities to his own work. The vocals on most of these
\nseedily peppy cuts are glossed with cellophane coatings — much
\nlike those on his solo project — that make them sound rather
\nrobotic.<\/p>\n

But, Ahmadzai’s actual forte lies in his cleverness
\nwith drum-programming. The polished metallic sound of his impinging
\nbeats, coupled with their unpredictable rhythms, yield an
\nexcitingly hip electronic percussive sound. Take away the
\nelectrifying beats from the singles “Music” and “Don’t Tell Me,”
\nand they lose all of their pizzazz.<\/p>\n

Madonna relives the humanness of Ray Of Light<\/i>
\non a couple of tracks — “Runaway Lover” and “Amazing” — on which
\nshe has collaborated with Orbit. These two cuts have the simplicity
\nin sophistication that her numbers with Ahmadzai don’t. The
\nstraightforwardness of these numbers brings out Madonna’s beautiful
\nvoice to the fore from its suppression (due to experimental vocal
\namplifications) on most of the other songs.<\/p>\n

It is surprising that on this album of frivolity and
\njollification, a track like “What It Feels Like For A Girl” should
\nmake a presence. This is possibly the most vexatious song Madonna
\nhas ever penned. The subtlety and humbleness with which the burning
\nfeminist rage is hidden on this cut makes its deeply felt
\nbitterness even more stinging. Among all the feminist numbers
\nMadonna has ever sung, this one gets the first prize for having the
\ndeepest wound.<\/p>\n

Yet all parties are cursed with party-poopers; and
\nMusic<\/i> has a couple of killjoys that dampen its high-spirited
\ngaiety. The high exhilaration of the album is literally shot in the
\nhead at point-blank range with the closing numbers, “Paradise (Not
\nFor Me)” and “Gone.” It is not the slowness of these cuts that kill
\nthe fun; it is their absolute blandness that’s bothersome. And in
\nan album of such brisk enthusiasm, the flatness of these tracks
\nmanifest quite glaringly.<\/p>\n

Music<\/i> is one heck of an adrenaline rush; this
\nis a party that shouldn’t be missed at any cost. Madonna will never
\ngrow too old; at 42, this pop-diva still knew how to party right
\nand party hard.<\/p>\n

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