Discussion in 'Charts, rates etc' started by RJF, Apr 19, 2020.
I can have a look tonight if thats ok, I don’t fancy attempting it on mobile hhh
Wait, Body Shop is still here?
Unapologetic Bitch is unapologetically awesome.
2015 PLACEMENT: N/A
HIGHEST SCORE: 10 x 3 (@P'NutButter @joeee @KingBruno)
LOWEST SCORE: 0 x 3(@Phonetics Boy @fatyoshi @sexercise)
MY SCORE: 5.5/10
Nn this maybe went a little bit too far, didn't it? Although it does mean that Madame X doesn't have a single song scoring below 6/10 so well hello that's celebrate that which is difficult to get not everybody has that. Let's start with the positives: how it sounds! The mournful lament of what sounds like a citar, how it seems to twinkle across over production that twists and seizes and pulses, occasionally dropping out for additional effect. It's great that an artist on her fourteenth album can still make music that sounds this interesting and bold. The negatives: everything else. I think a song like this would be easier to forgive if it was thirty years older and we could chalk it up to being a product of when The Discourse wasn't nearly as sophisticated as it is now, and we could at least applaud the intention.
However, it is a product of 2019, and in that sense, it's kind of unforgivable. Madonna's been more hip to how the conversation has changed over the last decade than most of her peers, but she still has some ways to go. Like I've said a few times before, I think she gets caught up in the grandeur of the language without actually thinking of its meaning, and this song encapsulates that perfectly. The stance here isn't, "Although I will never understand, I stand with you.", it's, "I'm going to empathise by absorbing and co-opting your struggles as if they were my own, wiping out your own struggle in the process and replacing it with my own, which is actually relatively non-existent.", and... that ain't it.
The frustrating thing is that she spotlights the struggle of others well in other places on the album without making it all about her. The way she essentially stepped back on the video for "Dark Ballet" and gave her clout to Mykki Blanco so their story could reach more people was a great way of doing that, and I think she's done it well in the handling of "Batuka" as well. I'm maybe not in a position to be the judge on either of those things (and people who are, feel free to either correct or embellish what I'm saying) but I at least think those are far better examples of what she tries to do on "Killers...". Oh, and the title is just awkward. It's like something that was originally in English being put into Google Translate to change it into another language, only to go through Google Translate again to turn it back into English. Bleh. I'm also assuming her Portuguese is appalling. Native speakers, feel free to drag.
The song was part of the drama-filled Madame X Tour, where... actually I don't really know what happened in the performance since audience members were banned from having phones and remarkably, any footage that has leaked appears to have been taken down. I'd rather wait for the official recording of the show anyway. Maybe someone can describe it to us? A bit of a scream to have to say that in 2020.
Oh, I almost forgot.
Special shout out here to @Maki, who, on listening to Madame X for the first time fifteen minutes before voting closed, gave this track a 9.5/10.
It was their highest score on the album.
She changed the line to "I'll be Palestine, if they're incarcerated". Makes that bit better, but the tone of the lyrics is completely off anyway.
Lovely production, beautiful production.
I knew it was going to happen eventually...
Thanks for the shout out, but I heard "Madame X" at least 3 hours before the voting closed, and "Killers Who Are Partying" is my joint highest score from the album.
I do think it wasn't a good idea to give it a 9.5...
...I should've given it a 10.
I think Madonna's problem over the years is that while she is indeed still very much socially aware and up to date on today's problems (far more so than so many of her peers), her... I don't know how to say this... mindset (?) still feels like it's from the early 90s and she never really evolved past that. That's why Killers is a struggle to sit through, stellar production aside. But as many times as she's put her foot in her mouth, she seems to take the criticism on board and actually learn from her mistakes, which I appreciate.
You had two months.
I should say something about these first:
Some Girls - 6,5
~ This was rather enjoyable, to my surprise. One of the better songs from the album, but I agree that the production is clunky, especially the vocal production. It has some interesting sonic aspects which make it stand out, though they can be abrasive, too. The verses are better than the chorus, especially the second one. Not really a song I will go back to, but it's a good one.
I Fucked Up - 6
~ Undoubtedly a perfectly fine track, although it doesn't click with me as much. Maybe it's because of the shallow production of the instrumental. Also, Madonna sounds quite uninterested while singing it and, as a result, the delivery is very sing-songy. I do like when it switches up halfway through, and the melody is cute at some parts, but it's mostly 'meh' to me and very much a bonus track material.
I'm A Sinner - 6,5
~ A pretty cool track on surface, but the more you look at the details, the more flaws you find. Again, those vocals are not it. I enjoy the production, oddly enough (yes, I fell for those "Ray of Light" sound effects) and there are some catchy bits. However, the high vocals and the middle-8 annoy me for some reason - it sounds like she's off-key during these parts. Maybe I was ecstatic to hear the William Orbit pastiche in the production and therefore bumped its score a bit, although the song is nothing special per say.
Speaking of which, I never fully realized the similar sounding Orbit-esque trinity of "Beautiful Stranger", "Amazing" and "I'm a Sinner" that @torontodj mentioned and never really viewed them as 60's inspired, which makes so much sense now.
All three are decent songs and certainly not among the weakest tracks from "MDNA", and while there are worse songs still in, none of these is a loss for me.
Ditto. (especially now that "Best Friend" was unfairly eliminated)
Yeah, it's lyrically obtuse. But the melody, the vocals and the instrumental are all incredible and it's my favourite track on Madame X.
Why is Killers out before the likes of Body Shop and Unapologetic Bitch when it’s one of her best songs this decade?
The lyrics are atrocious but the production automatically makes it an album highlight.
Body Shop needs to go. It should have been one of the first eliminated.
Body Shop is iconic and people are still loving it.
Something I stand behind while rating songs is majorly (like 90%) focusing on the melody, instrumentation, production, vocals etc. (i.e. the sonic aspects of music), while the lyrics are literally the very last thing I score.
The lyrics have never really made an impact on how much I like the song, since I very rarely connect to them (weird, I know), but even when I do connect, they aren't integral when rating the song.
For example, if there's a foreign language song that I adore and don't understand a single word from it, finding out that the lyrics are terrible absolutely wouldn't make me enjoy the song any less.
That's why "Killers Who Are Partying" received a high score from me - it's sonically a gorgeous song.
Some Girls is honestly my favorite off MDNA. It's wonky, but it works somehow. Killers is one of my faves of Madame X, too, although there are several cringe moments like calling us "de gay".
A perfect spot for it I think. Bitch I'm Loca is overdue though
I'm A Sinner is one of the more polished / listenable songs on MDNA to me, I go back to it a lot. I was absolutely gagged when she mixed it with Cyber-Raga for the shows!
The sentiment behind Killers is good and I appreciate her trying to highlight a multitude of problems. It didn't come off as great and I agree she loves to get lost in the grandeur of words. I did like its outing on the tour and the whole moving stage parts / production combo was great.
It's been fixed!
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