Word: soundingly
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...definitive source of what’s to come, it seems odd that Madonna would choose to follow her followers. Why would she hire the people that everyone hires? Mariah, Gwen, Nelly, Britney, J. Lo and even Ashlee turned to these men to help them find a new sound. Madonna, however—after the massively successful disco redux “Confessions on a Dancefloor”—didn’t need to hire the most obvious and dependable people in the music industry to produce her new album...
...only label she’s ever called home, and attempting to prove she’s worth the $120 million Live Nation offered her to jump ship. Whatever the reasons behind her decision to work with these hitmen, the results are quite brilliant. The album may initially sound like everything else on the radio right now, but we’re soon reminded that this is Madonna, and Madonna will never sound quite like anyone else...
...fact, many of the Timbaland/Timberlake productions sound similar to their collective past hits. Pharrell’s tracks, on the other hand, actually bring something new to the table while still retaining his trademark bells and whistles (literally). The Williams’ produced second single “Give It 2 Me” is an innovative standout, creating the first-ever audio strobe light in the choruses...
...making their own influence known. This is probably why the majority of the record’s tracks range from four and a half to six minutes in length, becoming not radio-ready singles but explorations of musical themes. Every time a song is about to exhaust a sound, it moves on to something completely unexpected, particularly on “Incredible,” the juicy center of “Hard Candy...
...what I have / She’s not me and she never will be.” It’s a cheeky kiss-off to anyone who thinks the Queen of Pop is ready to relinquish her crown. She even goes after her co-writer’s sound on “Miles Away,” the song that chronicles a couple’s attempt to stay together even with an ocean between them. With its dreamy chorus and hooks aplenty, it’s an overt attempt to mimic JT?...