But like a trailer for an action movie, if you’ve heard the single (maybe, like, 20 times already on VH1) then you’ve heard the best moments of “Music.” Of the scant nine songs that follow, the majority feel self-consciously stiff, and not in an ironic, let’s-make-fun-of-the-early-’80s way. In “Impressive Instant,” Madonna’s voice is computer-manipulated, morphing from robotic cold to chipmunk cute, while a stark, thumping beat and minimal “futuristic” effects make it a brittle, uninviting experiment. “Music” also sacrifices much of Madonna’s melody, leaving “Ray of Light’s” amazing layers of Middle Eastern samples and warm arrangements behind for the kitsch and quirk of Sprockets-style techno. It makes the album highly impersonal, which isn’t necessarily a bad thing for Madonna, who built an empire as America’s favorite ice queen. But in the trajectory of her career, it’s an abrupt turn away from the more human approach of her last two albums.
There are a few songs here that connect, one of which was written by Madonna’s brother-in-law Joe Henry. “Nobody’s Perfect” is a sweet, homey acoustic ballad with orchestral accents and a funky backbeat. There are also the sweeping melodies of “What It Feels Like for a Girl,” where Madonna actually sings (another thing that doesn’t happen a lot on “Music”). You have to hand it to Madonna for trying to push her sound and image toward new frontiers while keeping a major hold on her mainstream audience. But weird French techno? It’s not exactly a failed experiment, but instead a balancing act that may be impossible, even for this seasoned high-wire performer.
Madonna’Music’ Warner Bros.
