In fact, as an audiovisual experiment, I synched up Mountain Party's gloomily grandiloquent "Material Girl" with Anton Corbijn's clip for Propaganda's "Dr. Several acts, like Jeremy Jay and Ariel Pink, ably conjure the dark emptiness of postpunk with their homemade versions of "Into the Groove" and "Everybody", respectively, evoking Madonna's decade without copying her music. The motion in Madonna's songs makes them sound all the more exotic today, inspiring some crafty synth-pop covers on Through the Wilderness. No one here has to argue for Madonna as a serious artist or legitimate influence, precisely because no one here seems to feel that such an argument needs to be made. Even though it covers her career from "Everybody" through "Hung Up"- and even though the tracklist would make a great Madonna best-of- Through the Wilderness doesn't get bogged down in musical proselytizing or cultural weight-shifting. From album to album, she changed her hair color, her style, her sound, even her identity at will likewise, these indie acts- including Lavender Diamond and Giant Drag- change up lyrics, drop out lines, refashion melodies, and re-interpret meanings, with no regard for re-creating a particular sound or aesthetic.
Despite having a string of smart hits throughout the the past three decades, she doesn't inspire the same reverence as other icons often do, allowing the artists on Through the Wilderness to freely reinvent these songs in much the same way that Madonna continues to freely reinvent herself. Madonna is an ideal candidate for the tribute album treatment, having already inspired several in the past but none quite as sturdy or as much fun as Through the Wilderness, proceeds from which will benefit the charity Raising Malawi.
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