Madonna, Confessions II
★★★★
During the listening party for Madonna’s new album, producer Stuart Price revealed that he resurrected a studio microphone used in 2005. Confessions on the Dance Floortap it together to record songs Confessions II. You couldn’t blame Price for reaching for the charm; His first album with Madonna was a critical and commercial smash. But to the delight of the producer, her biggest client, and her millions of fans, the sequel is Madonna’s best record in 21 years.
Interestingly, it is not a restored version of the original. If the first record was inspired by disco acts such as ABBA, Bee Gees and Cerrone, Confessions II draws from the music of Chicago, Detroit and New York Madonna was dancing in the ’80s.
It’s built around a resonant bass line that nods to that produced by Giorgio Moroder I feel Loveopener I feel so free acts as a bridge between Confession I and II. One Step Away it goes deeper, an echo of it, a fluid texture reminiscent of Lil Louis’ 1989 classic French kiss.
Paying homage to the clan, Price samples the songs, packing the album’s hardest mid-section with ravey mixes, vocoders and dubby EDM whomp. Attempts to broaden Madonna’s appeal come in the form of zeitgeisty guests, including Sabrina Carpenter and Colombian reggaeton star Feid, but the album’s best collaborations are Testfeaturing the beautiful vocals of Madonna’s eldest daughter, Lourdes (here, Lola Leon).
Leon reportedly suggested the song as a way to heal their relationship, and the results are surprising, as Madonna admits “I didn’t ask you for all the lights on” and Leon admits “sometimes I wish I could outdo you but I know you’re close to me”. A string of individual songs like this closes the album, and while 16 tracks might be two or three too many, there’s no real fault between them.
The best of all can be Dance cluba fun way to the old Manhattan club where it all started for Madonna. no Voguehe mentions celebrities in a string of words, this time trading Garbo and Monroe for Madonna’s contemporaries. Among them, his one-time lover Jean-Michel Basquiat, Nile Rodgers, B-52s and his long-time girlfriend Debi Mazar – who is the ’80s New York nightlife that Madonna was at the center of, making her own history.
After a string of misadventures over the past two decades, it’s great to hear Madonna reconnecting with her roots. Confessions II and remind us who she is: the incomparable queen of pop. Of course, he still plays. Annabelle Ross
Invention of Ten Parts, Time Moves
★★★★
Someone has been playing under the bonnet of a band I have called the “Rolls-Royce of Australian jazz”. With a few spark plugs replaced, it fires up again – and roars when the accelerator comes off.
In the 20 years since Sydney’s 10-part Ten Part Invention last recorded, their fearless leader, John Pochee, has died. Half of the band are now newbies – which means that the other half, ironically, have been on board since its inception in 1986. Pochee would be happy that the project continues and, accordingly, they start these two albums with Andrew Robson’s. Song of John. “Feeling love” has become a scary phrase, but here it makes sense.
Important, band spirit is whole. The songs, along with the pseudonymous Miroslav Bukovsky Nostalgia (not what it used to be)from the members, and there’s still the feeling of 10 great musicians digging into the same hole, rather than a well-drilled big band going through its paces. The warmth of original bassist Steve Elphick’s voice is also central to the band’s character, and new keyboardist Kevin Hunt glides around him effortlessly, as does drummer Rease Cameron, while seven unique horn players ensure the musical character is constantly changing. John Shand
Sienna Spiro, Stranger
★★★★
Every generation needs a gritty, soulful British rocker – a strong, charismatic woman who bridges the gap between pop and blues with epic songs that capture your imagination and break your heart. Boomers had Dusty Springfield, Gen X had Kate Bush, Millennials had Adele, and Gen Z got their own: Sienna Spiro.
After the outbreak of his hit Dying on This Mountain exploded on TikTok, Spiro follows his first record, Stranger. It’s a deep, painstakingly sung collection of piano-laden laments, delivered with the assurance and patience of an artist in his 20s.
Spiro brings clarity to the dark depths of the soul. Turn on Stranger and We are not in lovehe reflects on the heartbreak of relationships where one person gives more and loves more, that balance of power and danger that sends your whole life upside down. Clean is a poignant meditation on living up to self-imposed expectations of greatness. Great Expectations and He is not My Child, I am His channel Amy Winehouse, intoxicating vocals and sarcastic lyrics from a smoky jazz bar between scornful menthol drags.
You stole the show is the best power ballad since Someone Like You. One to lock in your car, where no one else can hear you belting out that amazing chorus. Heaven help the brave who try to tackle this one at karaoke. Tom W. Clarke
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John Shand has written about music and theater since 1981 in over 30 publications, including Fairfax Media since 1993. He is also a playwright, author, poet, librettist, drummer and winner of the 2017 Walkley Arts Journalism Award.Connect through X.
