Vinyl Club: Madeon's "Victory"

0:15 Sammy. What the fuck is that? What the muff. What the muffler? What the fuck? Maxi. Yeah. Oh look, it's fucking it's we're getting into cricket season. That just feels like, you know, one of us has rolled the arm over we've claimed the wicket. And and and that's how it that's how we're celebrating.

0:34 Yeah, it sounds like a good idea in theory. Yeah. Um, welcome to vinyl club, everyone. The place to be for introverts and music nerds.

0:42 If we ever have a vinyl club gathering, there's gonna be 50 people standing in every corner of the room not talking to each other. And you and I we'll have to put corners in so other people can use it like there's more than the four.

0:53 Yeah, little um silent booths.

0:55 Yeah, yeah, yeah. You and I'll just be standing in the middle talking to each other. Instead of like buying a seat, you'll just buy a little corner. Yeah, I don't mind that idea actually.

1:06 Spill my water. Oh no. Oh no. Uh you gave me some homework, Maxwell. You gave me Victory by is that what it's called? Yes, by Madion. By Madion. Yeah. Mazion. Um coming into this album. Obviously, I knew one song being Super Platinum, which you brought to the show. A little Super Platinum. Bam bam bam bam bow.

1:26 A little viral moment we had on socials. Um so coming into the album, I was expecting Super Platinum to be an indication of the rest of the album in it. It's high-energy dance music, glitchy, trance meets two like 2010s, dance pop. Yep. Um, and while the album is full of that, I was kind of surprised by the depth of sound.

1:50 It was something I didn't expect. Um, it's got everything from rock to grunge to ambient vibes at times, little like 70s, uh, like vaporwave kind of influence. Yep. It's emo, it's got nearly every genre of dance music in it as well. So it was quite a journey. It is quite a journey.

2:10 Like, keep going. He's got nothing for me. Well, I I don't want to say anything then that you have to back over, you know what I mean.

2:17 Well, I'm gonna go track by track as I do TBT. TBT. Um, the album starts out with a huge curveball in high, which is like Brit Rock meets the dare without the really stripped back EQ that he's kind of famous for. Yep. Um, and it was a really big surprise with the the stadium rock intertwinement, if you will.

2:42 Yeah, did not expect that whatsoever. And then strayed back into a bit more dancy stuff with uh Car Crash Baby. Yep. The start of the song, you would be forgiven if you thought it was a prodigy song, and then these synths start, and you're taken back to the early 2000s with hints of like Troy Savan vocal rhythms meets Axel F synths.

3:08 Yeah, almost like that. I was like, fuck, this is like crazy frog territory, but it works, yeah. So just picture like Troy Savan meets Axl F with a bit of the prodigy, and that is Car Crash Baby. Um, super platinum obviously like goes hard as fuck. That drop is so catchy, makes you want to drive 200 down the like the highway.

3:30 Yep.

3:30 If you had an auto barn, you an auto barn, no auto barn 200 down the school zone 3 15 p.m. on a Tuesday.

3:38 Catch me if you can, kids. You're noticing the the windscreen full of children. It's fine with the wipers on high speed, obviously. You know, you don't want to overdo it, you don't want to look too excited. Yeah, I mean, wiper and like wiper um awareness is a thing. That's true. Um, but yeah, super earwormy, and it just holds this like I think you'd call it like trancey energy all the way through.

4:03 And then it goes straight into this emo, like electro pop song in Dancing on Your Grave. Yep. As the song suggests, like it's it's sad, it's all in its feels. Um, it's got huge vocals on it, huge range. Could have done it with a sax solo. Oh, you know what? I I can I can see that. Yeah, I feel like it just didn't have enough melon for the collie.

4:26 Yeah, I think with a song like that, if it's electropop, big vocals, bit emo, the midnight do it so well, you just throw a saxophone on and everyone goes, uh. So yeah. Yeah. Um going into somebody else, there's a lot of flangey guitar in there that felt a bit shoe gaze at times. It's like the electronic side of shoe gaze.

4:49 Yeah. Uh this song. And the ending is almost a breakdown in an electronic way, with its intensity and like foot-to-the-floor drums and synth approach. Yep. Um, again, curveball. I didn't say I'd he's got some diversity. He's kept it. Yeah. Um, getting into the sort of the back end, um, with consent, obviously.

5:10 Fire away with Slater. For a Slater track, I expected it to be super fast, in your face, upbeat, and it's far from it. It's very steady, this song, this this track. It is very steady, and it's almost slow for what you expect from Slater. But it's it's upbeat, it's kind of like a house house vibe. Yep.

5:33 Um, kind of dreamscapy in other patches. But I was very pleasantly surprised by this. I didn't realise that Slater had that sort of depth of sound.

5:42 It's it's one of those songs. Like, if you just said to me there's Maddie and Slater collab on the record, I'd be like, that's gonna be like my favourite song. I don't dislike the song, but I think compared to the like kind of craziness of a lot of other songs, this felt pretty down the line.

5:57 Yeah, it felt pretty safe. Yeah, yeah, and safe given how good like super platinum is is not the option. Yeah, I felt. But again, yeah, I think for me it was a s a forgetful song. Um, what wasn't was Chaos Magic. That riff, holy fuck. Yeah, that was insane. Like it's got this Western feel to it. It's like country rock meets James Bond meets electro.

6:20 Yep, it's really, really cool. Um, I've said this is the second best song on the album. I think Super Platinum's the best. Fair enough. Um, but the way it transitions into this, it goes from this western in influenced, like old town country rock vibe into this more atmospheric grungy feel towards the end.

6:44 It's really cool. Yep. Um, so I actually saved that song, actually. Damn. I know firefighter over there. Yeah. Well, then you what did you say? Firefighter. Yeah. Saving things. Oh, saving things. Yeah. Um, I thought you said our city. Well, it'd be weird if I did. It would be weird because it'd be perfectly timed because the next song, Enjoy, had almost like Owl City vibes.

7:06 It certainly does.

7:07 But it if you listen to the first bit, you're like, there's no way it sounds like Al City. That that weird, like almost like Latin groove rock sound. Yeah. And then by like about a minute later, you're like, oh, this is just Fireflies.

7:19 Yeah, it is literally just Fireflies. I was listening to it, I was like, this is a lost L City song.

7:23 Yeah, yeah, yeah.

7:24 Um, red jacket, very melancholy, bit dark, and that synth drop in the chorus has so much depth to it. Yep. Every time you listen to it, like it's one of those songs that every time you listen to the chorus, you find different little sonical hooks and sonical um like angles that you didn't find before, which I think always brings people back, which is really cool.

7:45 And then the last song, Lonely Space Age, it's like the midnight meets lo-fi dream house with kind of like late-night drive music with like M83 ballads towards the back end of the song. Yep. It feels very um, yeah, like vaporwave, it feels very um like computer techno, like early 2000s, start of the internet kind of era.

8:12 Yeah.

8:12 So overall, like it was a very enjoyable listen. I was surprised by the depth and I guess the the diversity of sound. Um probably wouldn't listen to it again as a whole, but there are definitely songs that you can take out and listen to individually. Yep. Depending on your mood. There's a lot of late-night driving songs that I would take, and then super platinum, you put that on anywhere, and people are gonna lose their nut.

8:35 Go the fuck off. Go the fuck off, my guy. But I've got some homework for you, Maxwell. Throw it at me, teach. It's an album that I've been going on non-stop about. It's only dropped in the last week, but it is Dope Amine Chamber.

8:53 Ah, yes, Fountains District of Columbia.

8:55 Yes, yes, Fontaines DC, Dopamine Chamber. Um, dropped on Friday. The world is talking about it. We've spoken a lot about it off air already.

9:06 So I'm not gonna Which, as our listeners know, means it doesn't count. Conversations that happen off air may as well not happen at all. Yeah, because you're not privy to them. That's true.

9:14 Um, there's a lot more expletives, which is wild because we still swear a fuckload. An absolute cosmic fuck load. Um, some of the highlights for me, Mary Ann, the single, is so that's so easy. Thank you. Mary Ann just so Fontaine's happy for you is a bit more punky. Demolition is arguably one of the best songs they've ever written.

9:35 Um, and one man is sticking with me for some reason. I just can't get it out of my head. Who's that man? I don't know. He is sticking with you, though. Well, he well, um, he is only one man. That's true. Yeah. But there's a lot like um, I forget the lead singer's name, it starts with G. Gary, Gary, Jerry.

9:53 Uh yeah, something like that. Gatty, Gurney, something Irish. Garald. Garald. Uh, you miss me, he sounds incredible, intimate's good. There's just it's a very good album. Um keen to hear your thoughts.

10:07 Well, I have look, spoiler alert listeners, I have listened already, but I'm gonna go back. I've listened to it once in full. I'm gonna go back and and give it the the the re-listen with vinyl club in mind and and and picking out bits and pieces. It's nice to I feel like it's always nice to get two listens in, one where you're just listening for the the sake of hearing, and one where you're like, all right, I need to pick this apart and and figure out what about it I do and don't like.

10:30 Yeah, it's it a lot of people are calling it album of the year, which is a big claim, but I'm not.

10:37 Wow. You've uh as we've covered on the show before. I reckon there's already about six that you've called album of the year at some point.

10:43 Well, I've started shortlisting my songs of the year. So I'm thinking we might need to make some playlists for people. Well, that's you know what? We that's what we do. We make playlists for people. But saying you know what else we do? We have vinyl thoughts. We do have vinyl thoughts. Um I think I'm gonna go for a crate dig soon.

11:00 Oh, get the shovel out. Get the shovel. Yeah, going into the the shop to buy fontaines, uh it it sparked. Sparked the energy again. What about you, sir?

11:12 So speaking of going to the shop, do you you know the there's a um like a psychological, physiological um phenomenon. I can't remember the name of it. It's got a Japanese name, but I can't remember. Uh, of if of of needing to shit in a bookstore. Really? Yeah. I caught I caught in mid-gulp then. Um, and it's apparently there's some um thing, like overriding bodily thing that people need feel the urge to shit when they're in bookstores.

11:38 Yeah, right. So I can that applies to record stores as well. No, but I do always feel the urge to pee. Oh. Let's uh I'm just gonna check the name of it shit in a bookstore phenomenon. Ike guy. Uh it's called the Mariki Aoki phenomenon. Oh, yeah. Roll of the Mariko Aoki, sorry, I should say. Uh, it's a Japanese expression for the sudden and a special urge to defecate when entering or browsing a bookstore.

12:04 Um there you go. Roughly 10% of people experience it. Wow.

12:09 Yeah.

12:10 God damn. Yeah. Is that your vinyl thought? Yeah, fuck it, why not? Ladies and gentlemen, go look up the Mariko Aoki phenomenon and um shit in a bookstore. Don't shit in a bookstore. We we I cannot tell you how much you should not shit in a bookstore. You've got plenty of toilet paper around.