daniel

When Madonna announced the sequel to Confessions on a Dance Floor it felt like an ambitious project, and one that could actually not work that well shaded by one of the most acclaimed works of the Queen of Pop. But, actually, this Confessions II is pure dance floor, pure Madonna and pure great production and lyricism, constituting not only an ambitious project, but a magnificent album that could enter among Madonna's best albums ever.

The queen of reinvention does not only seek for catchy songs and disco vibes in this album, flowing through different sounds, more encapsulated into house and electronic music. In that sense, this album is also a little bit of Erotica, Ray of Light, Music and even American Life (there are several moments in which acoustic sounds appear, as well as the breathtakingly beautiful final track, "L.E.S. Girl", a very "Intervention"-esque track). In that sense, the album is the actual continuation, the new version of the original Confessions, going from the 60's-80's to the 90's-00's. And, in that exploration, Madonna finds also sounds that have been in her music, because she was also part of the music of those decades – and still is, this album is just a reminder. It's beautiful to find songs that sound a little bit like her previous works, but updated, with a new outstanding production, fruit of her collaboration with Stuart Price. This album, as the previous one, sounds very atemporal: there are nostalgic moments, futuristic ones, ethereal songs and very innovative productions in here.

Also, Madonna finds in this album new sounds that match her so well. And there is also a mixture of textures that is very rich. From pianos, experimentations, the pitching of her voice, a trumpet, choirs and subtle strings, this album really grows and becomes breathtaking. The music drives you through a kind of trance ("call it trance [...] call it love without words") in which Madonna shows herself vulnerable, fragile, but also optimistic and full of joy and energy. This album is about love, the need of connection, of being surrounded by people, in contrast with Confessions on a Dance Floor, which is a very individualistic record in which Madonna finds the liberation in herself (in Jump, "I can make it alone"). After this liberation, this Confessions II seems to find Madonna in that seek of love, of connection of which she talks about throughout the record.

The first half of the album is about love and liberation. Of being surrounded by the loved ones and letting go. And, as in Confessions on a Dance Floor, as it flows, it becomes more introspective, confessional and intimate. Songs like "Bizarre", "Fragile", "Betrayal" and "The Test" show a more vulnerable side of Madonna. The loss of her brother Christopher, the marriage with Sean Penn and a love she has never forgotten about, the relationship with her daughter, and with her stepmother. Madonna sings about loss and regrets, and the dance floor becomes a place in which she can canalise this sorrow. As she says in "One Step Away", a ritualistic place for healing. And, as a way of ending the party, "L.E.S. Girl" adds a more optimistic point of view, her story when she wasn't Madonna, when she got to New York and a relationship there which was not meant to last. But there are several paths, and she followed her own to be Madonna, letting some things go. But that's what life's about.

This Confessions II is a wonderful project, a very cinematic album (something that is very well accomplished through the narrative parts) in which the songs are also soundscapes, and the music drives you from one stage to another, diving into the meaning of love and connection. The production is exquisite, very polished and very moving, but also ethereal when the songs become more introspective. And it surely is a very beautifully written album. So, what to say? Madonna has done it again, she has recovered all her force and channeled her feelings through this music. Through an album that is a blend of different sounds, that really gets you in a dance floor, in that place of healing and connection in which Madonna has found herself, liberated herself, and learned to love.

Is this album the definition of a waste of time. Because, it surely is what I expected, but I must say the beginning of the first song confused me and made me think it would be better. Sure it is not better than just a bunch of sounds blended all together in endless loops that try to be atmospheric and dance at the same time. It feels weak many times, and I cannot see the real appealing of this music. It is just the same thing over and over, and, to be honest, as the album progresses it gets even worse, more annoying and distasteful. It may have been an inspiring record, or a highlight in the techno scene, but, to be honest, if it is really anything of that, the album hides its secret very well. Because the songs are not enjoyable at all on a conscious listen. Even as background music it must be a pain to listen to.

Well, it is, at least, interesting. This album starts very nicely, but loses its touch as it evolves. The songs are a mixture of different things, and there is some cohesion too, which makes of it a very well-constructed album. It does not feel repetitive. But, it feels bland at many moments. Some songs, even though creative, lack a better development of their ideas. It feels like it tries so hard to be a much more interesting record and fails at delivering something that is nice, at some moments even interesting and enjoyable, but most of the time is just a good idea that has not been well accomplished. It lacks better hooks, more interesting textures and melodies, and not just that alternative sound that feels more of a way of masking the imperfections.

Great, fantastic, spectacular. This album is such a funny and very interesting one. Irreverent, virtuous, varied and so comical, it takes so many different sounds and blends some different genres so effortlessly into also very fresh and also great songs. I've loved every second of it. It is very inspiring and original, and so enjoyable too.

This album is… well, not my kind of go-to record, for sure. I can appreciate certain things, what can be appealing, some nice productions. And that is why I consider that is is not bad. It is even enjoyable sometimes. But I cannot say that I’ve liked it either. It is pretty repetitive sometimes, pretty uninteresting too. And, to be honest, it would have benefited from being shorter. Some songs are just not appealing at all. So, maybe in this case I appreciate it more than I like it. I can understand what is remarkable. It is just not remarkable for me.