REBEL HEART: An Unabashedly Biased Assessment

The time has come. In any Madonna fan's life, certain moments remind him of his monstrously obsessive compulsion to nonapologetically worship his Queen in ritualistic, cult-like fashion: the recent release of her thirteenth studio album, Rebel Heart, as you may have already surmised, unquestionably being one of those moments. 

In the world of pop, where the ebb and flow of musical trends, the appearance - and equally fast disappearance - of certain musical acts, and the overall shift of cultural and aesthetic sensibilities expand and contract with an erratic chaos that knows no equal, there is but one constant: Her Majesty, the undisputed Ruler of the Pop Universe, the One and Only Madonna. Never before has the world witnessed a woman so determined, so fearless, and so relentless in her efforts that not even an army of the meanest, most demanding critics or the grumpiest, most cynical consumers could detract her from her ultimate aspiration, that of Pop Savior. 

This unending pursuit of permanent relevance has never been as clear or as salient - in the best possible way - as it is on RH: a dizzying, electrifying blaze of dance pop, electro pop, folk, and even 90's house pieces which, while providing distinctively unique soundscapes, still manage to unite in the cohesive, compelling theme of duality initially conceived by Madonna at the LP's inception. While Rebel represents her antagonistic, adventurous nature, Heart naturally represents the romantic in Madonna.

While this idea is nothing new - or even particularly innovative - to the Queen (think 2008's Hard Candy), its execution is where the philosophy really shines. In a word, the tracks are breathtaking. In a phrase, Rebel Heart, in its totality, is Madonna's greatest artistic achievement since 1998's Ray of Light, which is easily her best album and doubtless my favorite record of all time.

As is typical with Madonna's singles, "Living for Love," the opening track, can hardly be taken as representative of the album as a whole, or even as an indicator of its overall quality. Understandably, the producers prefer radio-friendly, accessible dance tracks for the airwaves - something with which they can bait American audiences into further purchases - but this little tactic has repeatedly performed an enormous disservice to her work throughout her entire career. Although a catchy, and - needless to say - well-produced little gem, "Living" pales in contrast to the content proceeding it, essentially failing to spark the interest that should be there in spades. As such, due to the standard marketing, the public - particularly those in the States - loses out on what could be regarded as her strongest work in nearly two decades.  

For those who had any doubt prior to the album's release, their uncertainties will be blasted into pieces by the sledgehammer beats throbbing from their sub woofers; indeed, many who may have felt any degradation in Madonna's quality of music shall declare, over the dangerously seductive hooks and call-the-CDC infectious dance beats of her typically brilliant pop compositions, "it's Madonna, alright; she's back and better than ever." 

From the psychoactive purgatory of "Devil Pray" (whose final thirty seconds are among the finest produced moments in all of electronic pop's history) to "Iconic" with its perfectly epic hook, to the mischievous, blasphemous arrangement of clever double-entendres soaring over Bedtime Story-esque synth that is "Holy Water," experienced listeners, no matter their story, are likely to exclaim: "Now that's the Madonna I know!"

The audacity of the more boldly titled songs, such as "Bitch, I'm Madonna," a joyous explosion of colorful, celebratory nighttime fun, "Illuminati," a Kanye-produced piece that cleverly satirizes (and in the process, exploits) the media obsession with the idiotic conspiracy cult of the New World Order, or even "S.E.X.," a raunchy, titillating romp through some of Madonna's more risque contemplation (reminiscent of "Erotica") all shine through in a playful, energized, and as always, provocative way.

To cap it all off are some of the absolutely most stunning ballads ever conceived by the Queen of Pop - or for that matter, anyone - in "Inside Out" and "Messiah." These tracks are perfect examples of Madonna's ability to both marvel and captivate audiences simultaneously. From the snare drums to the orchestral pieces weaving them together, her voice melts over strangely familiar - yet staggeringly original - compositions like honey on hot toast, sounding just as sweet as such a treat tastes. 

There's something in this album that Madonna has once again tapped - something alive, something quintessentially her - and that she has dragged up from the depths of her career's foundations (think "Like A Prayer" and similar solidly constructed, anthemic declarations), all without sounding derivative or parodying her own work. This cohesive sound is surprising, too, given Rebel's eclectic array of producers and tricks of the trade. 

In an interview given during a press tour for Ray of Light, she told one curious reporter that she felt that album was just "the tip of the iceberg" for her, and seventeen full years later, such a statement is finally starting to make sense. Madonna's ambitions always seemed lofty to most, but then again, most never fully realized - let alone appreciated - just how lofty those ambitions were, not to mention their ultimate fruition.

After the dust of a major pop release settles, and the hype, expectations, and bitter arguments over the album's merits - or the perceived lack thereof - trail off, only clear and honest retrospection can reveal, through the test of time, the true value of this artist's work. The simple fact is that Madonna is, indeed, insanely talented - and not simply in the marketing aspect of her career, as has been obvious from day one, but in everything from songwriting to thematic construction to vocal delivery. It is this very multi-talentedness that so many conventional listeners cannot fathom - let alone accept - because of their own sad limitations on what they believe constitutes "pop." Madonna has broken down walls for her gender, and now she breaks down walls for her age. Who knows what other minds she will change, records she will break, or achievements she will accomplish?

FINAL SCORE: 96/100