MADONNA Frozen (6:12)
PRODUCERS: Madonna, William Orbit, Patrick Leonard
WRITERS: Madonna, P. Leonard
PUBLISHERS: Webo Girl/No Tomato, ASCAP
REMIXERS: Victor Calderone, Stereo MCs, William Orbit
Maverick/Warner Bros. 5431 (cassette single)

The first glimpse into "Ray Of Light," the pop chameleon"s first studio set in three years, is a stunning foray into the realm of electronica. Paired with producer William Orbit, one of the genre"s undisputed pioneers, she delivers a recording that underground purists and unwavering popsters will equally applaud. In fact, this single, with its lush, string-sewn melody and insinuating blend of high-tech keyboards, could finally elevate electronica beyond its current status as a hipster movement into the mass-appeal cash cow that the industry desires. Fresh from the vocal demands of "Evita," La M has found a comfy new ground between the theatrical demands of that project and the more casual vibe of her past pop efforts, showcasing a fluid, flexible range that"s executed to haunting effect here. "Frozen" also finds the artist reunited with tunesmith Patrick Leonard, with whom she penned early hits like "Live To Tell." Judging from the song"s taut hook and cinematic lyrics, they still have a considerable amount of chemistry. In all, a glorious preview into what could be Madonna"s most satisfying and successful project to date.

Madonna expresses her selves
New 'Frozen' an experiment in multiplicity, simplicity

02/17/98
By Teresa Gubbins / The Dallas Morning News

Best make your mehndi appointment quickly. If Madonna wields her usual influence, the popularity of this henna skin-dyeing procedure is about to surge. The singer sports mehndi and witchy "Morticia Addams" hair and does a makeshift dance of the veils in her new video, "Frozen," which debuted on MTV on Monday afternoon. It's the opening strike for Ray of Light, her first release since 1994's Bedtime Stories and the first since she became a mother. The disc will be in stores March 3. The demands of motherhood have left their mark on the pop diva: With the help of special effects, she is cloned into two Madonnas, then three. So many diapers to wash, so little time. The song is a dancy thing that intersperses classical-sounding strings with electronic beeps and bloops, but it's Madonna, so what you really want to know about is the look.

She's no longer the Sophia Loren of "Secret," the sultry siren of "Sex" or the suit-clad dominatrix of "Express Yourself." Her new image is more Bride of Marilyn Manson, with hair that's gone inky-black and stringy, fingernails painted black and those (fake) tattoos. Yet the video's strong Middle Eastern feeling gives her an exotic elegance. She does a vampy bellydance, her fingers clasped as if clutching coins, and when she is "cloned," it's like a harem - a harem of Madonnas. No matter that Jane's Addiction covered this same turf a decade ago.

Directed by Chris Cunningham, who has worked with Portishead and Aphex Twin, the video is a paragon of minimalism. The palette is limited, and the setting is singular: the Southern California desert, shot in a pale, icy blue hue. The only contrast is Madonna's figure, a silhouette of midnight-blue satin scarves and veils. You wonder whether she's been out there 40 days and 40 nights. Special effects are smooth and eye-catching. Like those transforming toys (or like Snoop Doggy Dogg, depending on your point of reference), Madonna becomes a sleek black dog and later, in a nice shattering effect, a pack of crows that take flight. Subtle by contemporary standards, the video nonetheless feels modern and makes a case for the beauty that lies in simplicity.

"Ice Try, Madonna! New Single, "Frozen," Isn't As Hot As The Whole LP."
By Jim Farber

Madonna takes a turn toward the mystical on her new single, "Frozen." The song, just released to radio and available in stores tomorrow [sic], sends a spooky Middle Eastern melody quavering over a tingling electronic beat, while a fine line of strings adds a certain grace.

The result? A sweet but flimsy recording, anchored on a melody that never develops beyond a faint chant and a beat so understated it winds up seeming aloof.

Madonna fans shouldn't fret overmuch, though. "Frozen" hardly represents the best of what you'll hear on the new "Ray Of Light" album (arriving March 3, and heard through advance tapes by this critic). The full album features some of Madonna's most irresistable melodies in years, along with a startling range of electronic effects.

The selection of "Frozen" as a single fits a puzzling (but survivable) pattern in Madonna's recent career: Lately, she advances albums with some of her weakest tracks. Remember her last pop release, 1994's "Bedtime Stories"? She issued "Secret" as the first single, one of the album's most underdeveloped songs. The otherwise admirable album for "Evita" had the stiff and incongrous "You Must Love Me" as its kick-off song.

At least "Frozen," produced by William Orbit, aims to put a fresh twist on the electronic rhythms of the moment, turning the sounds of electronica elegant. Unfortunately, it compromises the style with too much tepid pop. Fans would do better to buy the remixes of "Frozen" (found at your finer dance-oriented music stores), which fluff up the melody and make the beat buoyant.

Madonna's video for "Frozen," which debuted on MTV this week, is another half-hearted affair. The clip features the star shrouded in black, with a witch wig and a Stevie Nicks hand-me-down shawl. As she writhes around, assuming different shapes and forms, she ends up looking Cher in the road company of Mummenschanz. Worse, the video, directed by Chris Cunningham, simply doesn't move. Too many static shots feature too few special effects. It's frozen, for all the wrong reasons.