Performed by a vocalist who had recently abandoned the U.S. for the U.K.,
American Life is an album co-produced by a French techno mastermind, recorded during a time of strife in America, and released just after the country completed a war. Given that context and given that the vocalist is arguably the biggest star in the world, the title can't help but carry some import, carry the weight of social commentary. And it follows through on that promise, sometimes explicitly and sometimes implicitly, but either way,
American Life winds up as the first
Madonna record with ambitions as serious as a textbook. It plays as somberly as either
Like a Prayer or
Ray of Light, just as it delves into an insular darkness as deep as
Erotica while retaining the club savviness of the brilliant, multi-colored
Music. This is an odd mixture, particularly when it's infused with a searching, dissatisfied undercurrent and a musical sensibility that is at once desperate and adventurous, pitched halfway between singer/songwriterisms and a skimming of current club culture. It's pulled tight between these two extremes, particularly because the intimate guitar-based songs (and there are a lot of them, almost all beginning with just her and a guitar) are all personal meditations, with the dance songs usually functioning as vehicles for social commentary. Even if the sparer ballads are introspective, they're treated as soundscapes by producer
Mirwais, giving them an unsettling eerie quality that is mirrored by the general hollowness of the club songs. There's a lot that's interesting about
American Life -- the half-hearted stabs at politics fall aside, and there are things bubbling in the production that are quite infectious, while the stretch from "Nobody Knows Me" to "X-Static Process" in the middle of the record can be quite moving. ~ Stephen Thomas Erlewine