MADER

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“In the spirit of Lou Reed and Serge Gainsbourg, “I’m So Bad” and “Brando” are their own brand of sex rock. Outrageous, over-the-top, and just the right amount of bizarre, they will hook you with their richly layered melodies and rhythmic drive.

The author is film composer, Mader, whose return to songwriting recalls his celebrated, heroin-infused Tangobidet—a cult favorite from his days in New York… before years of scoring films nearly straightened his slightly crooked edge. With Madloon Society, it sounds like he is having a mighty good time. At this point in his career, he trusts himself enough as a musician to play and explore new territory. Mader presents to us a Dionysian world, where lust is the pastime and social graces go askew, just as time does in a dream. What a Stanley Kubrick film might sound like, if it was turned into song.

Eccentric and irreverent, this is a taste of the seedy underworld, with just the right touch of continental flair and humor. Think Paolo Conti. It’s a play of contrasting elements … Pearls and profanity. Seductive but blasphemous. Beautiful but trashy. Classic but totally innovative and fresh.

“I’m So Bad” is a medium-paced, danceable song, which lives on the fringes of the usual categories and genres. The clean tone of Mader’s opening guitar riff gives way to his nearly whispered refrain “I’m So Bad.” It’s catchy, it’s hypnotic, and it grooves. “Pray down Lord ‘cause I’m so bad,” he growls as if confessing. But, sin never sounded so good. And his gravelly voice is the perfect vehicle for the seedy story he tells, all set to a slow-burning, fat, and full-bodied pulse. The sound is meaty. It’s distinctive. And unlike the over-processed, corn syrup pop of today, you’ll remember it.

“Brando” is a slower ride, replete with lush harmonies, along with the smooth backup vocals provided by Italian singer, Barbara Eramo, whose velvety voice leads us into yet another mysterious world. Her clear phrasing, both elegant and expressive, contributes greatly to the soulful mood and warmth of this track, as does the muted trumpet, played by Arystan Petzold, and the tastefully restrained percussion, played by Stefano Saletti. Like “I’m So Bad,” it conveys a similar sense of reaching for forbidden fruit. As Mader’s seductive guitar dances around the come-hither voice that coaxes…“Down to the river,” one wonders what is going to happen down there…
Madloon Society is a kinky act!.”

Donna Quesada