In an interview with the Los Angeles Times just 24 hours before accepting the Golden Globe for Best Original Score for W.E.‘s “Masterpiece,” Madonna gave writer Rebecca Keegan a few new details regarding her upcoming twelfth studio album, MDNA.

For one, she confirmed a new track on the record: “Beautiful Killer,” an ode to french actor Alain Delon. “I’ve seen every movie Alain Delon’s ever made…he’s so charismatic,” she told the newspaper.

Madonna also spoke a little bit more about the sound of the record, explaining how the sound differs between producers:

“I feel like all the records on the radio right now have a homogenized quality to them,” she said in The Times interview. “I’ve made a huge effort to try and not sound like everybody else. The music that I’ve done with William is quite introspective, whereas Martin’s is more ironic and funny and upbeat. There’s a really up aspect to it and a really fun aspect to it.”

Thus the light and the dark motif she’s been talking about: There will be heavier moments like Orbit‘s “Masterpiece” and lighter moments like Solveig‘s “Gimme All Your Luvin’.”

For more, make sure to read the full article. The Superbowl is on February 5.

While we hungrily await (and/or remain anxious about) the final version of “Give Me All Your Love,” the lead single off of Queen of Absolutely Everything Madonna‘s upcoming twelfth studio album, a new song has just arrived to briefly satiate the cravings–and it’s a “Masterpiece.”

The brand new ballad, which leaked in low quality yesterday, will be featured in Madonna’s upcoming film, W.E. The track was co-penned by Julie Frost and Jimmy Harry, who’s penned everything from Kylie Minogue‘s “Put Yourself In My Place” to Britney‘s “Touch Of My Hand.”

“And I can’t tell you why/It hurts so much/To be in love with a masterpiece,” Madonna croons. While it’s difficult to fully appreciate the production on this William Orbit-produced ballad because of the low quality leak, the song’s minimal beat and lush, sweeping strings sound immense so far. Plus, Madonna’s vocals are absolutely lovely!

The track also gives me some “To Have And Not To Hold” vibes, one of the album tracks included on Madonna’s impeccable 1998 release, Ray of Light (and another Madonna/Orbit production.)

Nothing fails when it comes to Madonna and balladry, and “Masterpiece” is no exception: I love everything about this–from the lyrics (“From the moment I first saw you/All the darkness turned to white/An impressionistic painting/Tiny particles of light”) to the gorgeous, understated instrumentation.

I’m SO excited to hear this one when it’s released properly!

EDIT: A 13-second clip of the final version has surfaced, including a taste of the full orchestra. If the rest of the song plays this beautifully, “Masterpiece” might just be one of my new favorite Madonna ballads of all time.

Madonna’s 12th studio album will be released in 2012. (iTunes)

Last night, William Orbit took to Facebook to reflect on his hectic life during the past few weeks/months while recording in New York City with The One and Only Queen of Everything, Madonna. According to the producer, the job was done in a “nondescript” studio above a music shop just off of Times Square. Can you even believe that?

It’s really an interesting ramble in full, especially (of course) when he manages to talk about “M”:

But feeling like that we’ve part of a special moment in all of our careers. Including M’s. Who, I have to say has amazed me anew in unexpected ways during the last few months.

Orbit later reveals in the note that Madonna’s album will be mastered at the end of the month (!)–an incredibly early finish for the album. Perhaps the release date will be sooner than April or May as originally forecasted?

It was great earlier tonight to head downtown and see all the wonderful folk at my management company (AAM). Andy Kipnes (my manager) and Ross Donadio also discussed with me my new Strange Cargo album which is all but finished. And some other song projects that I will pick up one once M’s and my new album are mastered at the end of this month.

Judging by the early single selection, the early album mastering, and the overwhelming positivity buzzing around the production team working on the album, it seems as though Madonna’s entire camp is nothing less than confident about this new era. A good sign, without a doubt.

“Give Me All Your Love”–the lead single from Madge’s upcoming album–will be one of the songs performed during her Superbowl performance in February.

For now, we must (attempt to) wait patiently. This is the calm before the storm.

You might want to call me BRADtannica at this point.

First of all, has anyone else noticed this? Merely an observation, not hinting at anything:

※ Madonna‘s seventh studio album was Ray of Light.

※ It was released in March of 1998.

※ It was largely produced by William Orbit.

※ The album photography was done by Mario Testino.

Thanks to DaveWithAK on the BMK Forums for pointing out the many connections!

But onto the real stuff.

Remember when I said there’s plenty to come? I wasn’t lying.

While I can’t quite officially reveal the single title to you, please…

DON’T HOLD IT AGAINST ME.

Are you ready for what’s next?

Oh, and before you start Heavy Breathing…remember where you read this one FIRST.

I tweeted this one yesterday, but I feel like no one was around to notice. I have to start pretending I have a life on the weekends…

Anyway–flashback post!

Back in 1999, Britney performed her cover of Cher‘s “The Beat Goes On” live at the World Music Awards. (WATCH)

Though visibly nervous (only 18 at the time!) and stuck with one of the worst wigs of her career (a foreshadowing for the 2007 VMA’s and onward), the Holy Spearit managed to absolutely nail the track with her superb, deeply under-appreciated natural lower vocal range.

I love me some B Girl signature baby voice (“3,” “If U Seek Amy”), but DAMN do I love it when she lets that soulful sound shine! “Let Go,” anyone?

With William Orbit and Rusko on board for Album #7, here’s to hoping that Brit Brit can bare it all on a few numbers as well.

I’m sorry, but I’m freaking out.

William Orbit has been tweeting Dr. Luke and Teresa LaBarbera-Whites, head of A&R at Jive Records. The unifying force between all of them? Britney Spears.

Never did I ever imagine Orbit would be getting giddy about new production techniques from Dr. Luke. The fact that they’re all working together–one big machine–with Britney at the helm…

I’m getting woozy. Someone get me a paper bag, STAT.

EDIT:

AMAZING.

2011: YEAR OF THE SPEARS.

Nadine Coyle has an insatiable ego.

After rejecting a major label bid war in favor of an exclusive distribution deal at Tesco, reportedly declining an X Factor performance invite, and forgoing all contact with her (former) Girls Aloud band members for almost a year, Nadine Coyle has made it a point throughout the entire recording and promotional process of her new-found solo career that she’s going to produce and promote the music her own way—and she doesn’t need your help, thank you very much.

For more proof, one needs look no further than the very name she’s releasing the album under: “Nadine.” That she would even opt for single name status (Cher, Madonna) is a fairly strong representation of the Irish chanteuse’s lofty self-image.

It’s not that the ego isn’t entirely unmerited. In fact, she’s got the talent to back it up.

The singer, who had her first brush with fame after being famously booted from the 2001 Irish offshoot of Popstars after lying about her birth year, quickly climbed to notoriety as one of the five members of Girls Aloud, the incredibly successful product of 2002’s UK talent search, Popstars: The Rivals.

Armed with a powerful, soulful delivery style and a deliciously thick (and unintentionally hilarious) Derry accent, Coyle quickly assumed the role as unofficial lead of the group—or at very least, “The Voice”—after the smashing success of their first few singles, including “Sound of the Underground” and “Life Got Cold.”

The problem is that Coyle knows this fact well—and she wants everyone else to know it, too. As she will proudly explain in interviews, it was she in the recording studio longer than any of the other girls, providing the dependably solid main vocals on every one of their 20 Top 10 hits.

Accordingly, the majority of the promotion for Nadine’s solo campaign thus far has been spent fielding questions regarding her past—about Popstars, about Girls Aloud and of course, about Cheryl Cole.

As the first member of Girls Aloud to go solo back in 2009, Cheryl Cole has since managed to become arguably the most popular and influential celebrity in Britain today thanks to infectious charm, a judging spot on X Factor, and a full-on love affair with her personal life courtesy of the British tabloid press. In fact, the sheer mega-wattage of her celebrity manages to successfully eclipse the fact that her music is largely terrible.

Once again, Coyle knows this. And while she doesn’t dare criticize her former bandmate outright in the media, her carefully worded responses to questions about Cheryl reek of contempt. From The Guardian:

Would Coyle say that she is more of a natural musician, and Cole more of a natural celebrity? “Yeah, I would say that would be an accurate evaluation.” She shrugs her skinny shoulders. “But Cheryl’s great, you know, and we get on. And I wouldn’t be good at stuff like judging the X Factor. I would be the worst. Partly because I would want to be the one up there singing, with the lights and the stuff. Also, I’d be going, that’s not good, never mind, let me do it. Just watch me.”

Can you spot the snide? Not exactly hard to miss.

Promotion aside, there’s an album at hand.

With one listen of the lead single and title track “Insatiable,” it’s clear that Coyle’s crafted an actual artist’s record in Insatiable, complete with live instruments, powerful vocal delivery, and sharp, big-sounding production courtesy of industry powerhouses including Tony Gad, Guy Chambers and William Orbit. This is music beyond Auto-Tune—and some of quite listenable, indeed.

With soulful, melodious songs like “Runnin’” and “Chained,” Coyle instantly establishes herself as a class-act vocalist early into her debut, not unlike that of Alicia Keys, Mariah Carey or even Whitney Houston. Although the music is very ‘modern sounding’–weaving through licks of electronica and R&B rhythms–it’s Coyle’s diva pipes and the Motown-lite melodies that place Insatiable strictly in the realm of Adult Contemporary rather than Hot 100 Pop.

“Sexy Love Affair,” one breathy highlight from the record, showcases the singer’s vocal versatility. “So sweet, you got what I need / You make me dizzy,” Coyle croons on high above the piano-infused, jumpy up-tempo melody. As with the record as a whole, even when Nadine goes the ‘sexy’ route a la “Sexy Love Affair” or “Red Light,” the end result is uncompromisingly sophisticated, making earlier Aloud cuts like “Watch Me Go” seem utterly crass in retrospect.

Beyond the traditional belters, Coyle dabbles into somewhat experimental territory. The falsetto-laden “Unbroken” is a major moment for the ex-Alouder. “You’re free to make me believe you’re mine, but please be kind,” Coyle whispers above a warped landscape of atmospheric guitar strums and funky, glimmering electronica.

If this country-tinged foray can be compared to anything, it’s ex-Sugababes member Siobhan Donaghy‘s incredibly underrated sophomore 2007 effort, Ghosts–a major compliment coming from any fellow Brit Pop nerd.

As for a second single (if the Insatiable campaign survives long enough), it’s “Put Your Hands Up” that may be the one to beat for commercial success. A fun, horn-heavy up-tempo that plays nice with a healthy dose of electro beats, “Put Your Hands Up” isn’t exactly the stuff of Girls Aloud, but it’s probably the closest she’ll come to emulating the winning sound that propelled her to fame in the first place.

Coyle does have a tendency of waxing indulgent at times, diverting into cringe-worthy cliches and boring scale runs (noodling, as a friend of mine used to call it) on songs like “Make A Man Out Of You Yet” and “You Are The One.”

The latter, a sluggish, twangy ‘all natural’ kind of ballad, finds the singer spouting embarrassing lyrics about feeling safe in her own skin with her man: “I don’t even have to play it cool, I can be who I am in front of you,” she screeches at one point during the joyless ditty. It’s no “With You,” that’s for damn sure.

But where Coyle occasionally slips in lyricism, she recovers in delivery, as with one of the greatest cuts on the record, “Raw.” “You left me raw, I let you take it all,” Coyle painfully calls out during the song’s soaring chorus. If there’s a moment that truly spotlights Coyle’s showstopping vocals, it’s this one–a stunning high point on the album.

Sadly, the reason Nadine Coyle will (inevitably) flop in the Album Charts has nothing to do with the actual content of album. As a body of work, Insatiable is not only miles better than Cheryl’s from a technical standpoint, but a solid collection of soulful, sophisticated adult pop in its own right that would make for a strong debut from any new act.

But all that means nothing in the eyes (and ears) of the British public.

She’s sabotaged herself by rejecting her past, snubbing her former band-mates, and poo-pooing the dearly beloved pop project responsible for skyrocketing her into the limelight in the first place. Had she or her equally cocky manager been briefed with basic PR training prior to doing the rounds before her single’s release, “Insatiable” might have moved more than 117 physical copies in its first week.

As a result, Cheryl will continue to break records with her exercise in mediocrity (Messy Little Raindrops) and a pleasant persona, while Nadine will claw her way to the bottom of the charts with a stunning set of pipes and a grating diva ‘tude, proving that—for better or worse—talent doesn’t always dictate success.

Furthermore, despite Insatiable‘s quality, few songs from this record (and certainly none from Cheryl’s last two) even slightly hold a candle to the mighty flame that was The Aloud. God willing, the egos will subside and the girls will regroup once more to release something of actual substance.

Until then, there’s always a job waiting behind the counter at Nadine’s Irish Mist. I hear the burgers are incredible.

Insatiable was released today in the UK. (Tesco)

From Twitter:

muumuse: @WilliamOrbit Are you, by any chance, working on Nadine Coyle’s solo album? Or just a friendly lunch? Please say yes to the former!

WilliamOrbit: @MuuMuse it’s a yes to the former

That’s right: MuuMuse can excluusively confirm that Madonna‘s Ray of Light producer and electronica legend William Orbit is indeed working with Girls Aloud’s Nadine Coyle on her upcoming solo work.

OH MY GOD. OH MY GOD. YES!!!

“Revolver” is like an increasingly urban spin on anything off of Britney‘s Blackout–most notably “Radar” and “Piece Of Me.” It’s not as good as those two tracks, but it’s probably more fun than anything off of Hard Candy. Mercifully, the song does not beg for relevancy as pathetically as something like, say, “4 Minutes,” but it’s still too heavy-handed with “modern” production style to be considered unique in any shape or form.

What I’m getting at is that “Revolver” would be a step up from Candy…just not a big one. It’s fun, though…

Secondly, William Orbit has been doing some radio interviews around the UK to promote the release of his new album, My Oracle Lives Uptown which, alas, proved not my cup of tea upon hearing it a few weeks ago. Nonetheless, he had this to say to BBC Radio regarding Madge’s new sound:

She’s into Britney Spears’ last record. Not the last one, the one before. That Britney record with ”Piece Of Me” on it. She wants that brilliant sound. I absolutely adore the sound of ”Piece Of Me” and so does she. It’s one of my favorite tracks when I DJ and I play it. And I love playing Madonna’s song ”Music” she did with Mirwais and she’s right now looking for a sound that is similar to that. And I can’t make that sound even if I tried. It doesn’t come out that way. It all softens up in the end and she’s more into that hardcore dancing thing and so forth.”

Hm. Well, if it’s hardcore that she wants…

Thanks to Candy-Store.org for transcribing…head to their site to hear the whole thing!

DL: Revolver (Demo)

Mirwais, producer responsible for a majority of both Music and American Life (as well as a few Confessions tracks), has been involved in a new collaboration project with Arabic singer, Yasmine Hamdan–a collaboration now known simply as Y.A.S..

The goal for the grouping, along with the desire to create some killer electro-pop, is to reconstruct society’s association of “Arab” in Western culture. As the producer said in a French interview with Le Courrier:

“The idea is that today, in Western culture, we hear about Arabs everyday – in a bad way, because of terrorism, etc – but we lack of cultural representations coming from those countries that could mix with the western culture…”

As of now, the duo’s album, Arabology, is available in digital form–in France. Though I’ve not been able to find much regarding the album, I did happen upon a Spanish review of the album. My favorite part? Their description of the fourth track, “Oloulou”: “Los beats del estribillo son enfermizos.” (“The beats of the refrain are sick.”) Massively infectious beats and super-slick vocal delivery, as though Yelle took down the BPM and got a little experimental. Look (hope?) for this album to get an international release sometime later this year.

Over in England, William Orbit, responsible for Lady M’s impeccable Ray Of Light, as well as some of Music) is putting the final touch on his tenth solo album, My Oracle Lives Uptown. According to his blog, the mastering is actually being done today at Abbey Road, before a series of interviews with radio in the next few weeks.

In the meantime, fans can listen to samples of the upcoming album on both his MySpace and his blog. As usual with Orbit, the songs incorporate a stunning selection of trippy, hazy electronica tingles and ethereal melodica. Just try not to be distracted by all the LSD friendly images littering his websites–no, I have no idea what that’s all about either. Watch for Oracle to drop on May 4.

DL: William Orbit – Optical Illusions (Radio Edit)
DL: Y.A.S. – Yaspop