Madonna Rebel Heart Demos Zip Series Of Car

But then you remember just who the person fronting the track is; this is Madonna, the woman who has done it all, seen it all and presumably felt it all.

One of the most potent examples of Madonnas flair for media manipulation would involve her using titillation and its inherent shock value as a means of establishing discourses on power, control, and AIDS anxiety on 1992s Erotica.

With song titles such as Deeper and Deeper, Whys It So Hard and Bad Girl winking at you from its tracklisting, the album may as well have been sold with a pack of pearls for listeners unwilling to explore its thematic depths to clutch.

Although the Super Deluxe Editions twenty-five tracks may once again present the listener with an array of musical swatches to choose from, at least the records evident influences are just a little more time-honoured than those of 2006s Hard Candy a relic of Timbalands mid-noughties chart ubiquity and the tuneless EDM of MDNA.

Devil Pray never fully cashes in on the country-dance credentials presented in disillusioned verses in which Madonna appeals to a higher power for salvation, instead luring its chorus away from the barn dance and into a demonic orgy turned rave.

Iconic could become Madonnas very own Eye Of the Tiger, with a mouthy prologue from Mike Tyson fizzing into cascades of quasi-industrial beats, a victory lap of a chorus (I can Icon Two letters apart) and an appearance from Chance The Rapper.

Producer Kanye West is in Yeezus mode on Illuminati, propping up Madonnas intentionally dead-eyed anti-conspiratorial raps (Its not Isis or the Phoenix, The Pyramids of Egypt; Dont make it into something sordid) with heavy, sluggishly churning synths.

Ghosttown, the piano-led HeartBreakCity, and the largely acoustic Joan of Arc are easily Madonnas finest ballads in a decade, but there are instances of the dualities implied by the records title intersecting.

Madonna Rebel Heart Demos Zip Series Of Car

On Body Shop, her floaty voice woos a lover over a gossamer-light folk arrangement with a series of car-related puns, but when you hear Madonna sing jumpstart my heart, there is something sweet to take from them not all being exclusively sexual.

On Inside Out, a slightly gigglesome topline of Let me love from the inside out doubles as both as a sexual solicitation and an unconditional acceptance of a lovers flaws.

Uptempos are something of a rarity, with many of the club-orientated tracks pacing themselves to deliver more fleshed out choruses.

The self-referencing gets occasionally tiresome on Holy Water and Veni Vidi Vici; the first a deliriously camp (Bitch, get off my pole) endorsement of female ejaculation with an unnecessary interpolation of Vogue, the second a wistful retrospective of Madonnas life and career with lyrics made up of shout outs to her biggest hits: I expressed myself, came like a virgin down the aisle Exposed my naked ass, and I did it with a smile.

At 56, Madonna is carving out a cultural space for older women in the music industry and beyond to further explore their sexuality and creativity.

The fruits of her efforts will obviously take a few years to quantify and appreciate, but the adventurous streak running throughout much of her latest record shows why Madonna will always be a rebel at heart.

I say this because even if the absolute worst should happen, and you are caught with your trousers down, at least you can some pride in what you have been forced to present to the world.

Madonna suffered a similarly gross invasion of privacy last November when an embarrassment of demos from her upcoming album Rebel Heart leaked online.

The majority of the leaks demonstrated a welcome spike in ambition and musicality since the dark days of 2012s MDNA, a largely anaemic afterthought to her Super Bowl Halftime show and the admittedly brilliant tour of the same name.

It may use parts integral to such other 90s dance throwbacks as Kieszas Hideaway and Clean Bandits Rather Be, but with Madonna along with producer Diplo, her latest co-conspirator behind the wheel, Living For Love is one of the more darkly intoxicating rides that the genres recent chart revival has yielded.

The track bubbles into life with Diplos glassy synths underscoring dramatic house piano and Madonnas quietly victorious verses.

Her post-divorce albums Hard Candy and MDNA attempted to resolve the singers much-publicised break-ups from Guy Richie, Jesus, Brahim et al but it is only on Living For Love that she seems to have discovered a state of genuine edification.

Picked up my crown, but it back on my head I can forgive but I can never forget, she sings, asserting herself personally and as the Queen of Pop all in one move.

The chorus is backed by a gospel choir and is suitably enrapturing, although the crunchy breakdown that follows undermines Madonnas importance with a gospel singers adlibs.