(Warner)
Much anticipated set of remixes and lost songs give a glimpse of a great pop mind trying out new tricks
I
t’s hard to overstate the impact of Ray of Light, Madonna’s seventh album. Released in 1998, it totally reshaped Madonna’s career, embracing trip-hop, electronica and Britpop and essentially proving to an unfriendly public that she was one of pop’s great auteurs. It spawned one of her biggest singles – the haunting power ballad Frozen – and its title track is still a staple of radio and DJ playlists. In the past few years, many of contemporary and underground pop’s most significant names – including Caroline Polachek, Addison Rae, a.s.o., Shygirl and FKA twigs – have referenced Ray of Light, whether directly or indirectly. It’s a fool’s errand to try to make a case for the best or most significant Madonna album – she has at least five strong contenders – but if there’s a consensus pick, it’s Ray of Light.
Which is why the announcement of Veronica Electronica, a full-length Ray of Light remix album, was met with such hysteria from fans earlier this year. Madonna has spoken at length over the years about both Veronica the character – in true Madonna fashion, Veronica stems from a vaguely contradictory concept in which she is both a girl dancing at a club and, somehow, “medieval” – and the album, which she intended to release after Ray of Light but ended up shelving. For diehards, the promised record is something of a holy grail – never mind that this long-awaited release only contains two truly new songs, one of which, an old demo titled Gone Gone Gone, has been floating around on the internet for years.
