I have been a fan of Madeon for the longest time and he has consistently amazed me with his compositional skill, with a style somewhere between the saccharine pop chords you find in Rihanna’s music, and the dignified chords that maybe try a little too hard that you find in Tiësto’s music. That’s not to mention his production prowess as well - I’m always impressed by the way he seems to so flawlessly play “musical Tetris”, knowing where every single one of his instruments fits inside a mix so that every sound is heard but none is too distinct. It makes me totally jealous just how damn *good* he is, but I do respect him for teaching himself all this skill over the five or six years he’s been producing. I can only hope to do the same.
He carries on this skill with his new song “The City”, which is absolutely great. I love how pretty it is in the beginning, and how French it is after the drop, and how cheesy yet great the lyrics are. If you like French house or electro house (a Justice fan, basically), you will adore The City. Here’s a few thoughts:
- Oh my Jesus Christ, “I can feel the heartbeat, underneath the concrete, just like a kick drum plays”. Holy shit I have never heard of a more cheesy yet FUCKING BADASS verse.
- I totally want to visit said City now. Time and space don’t exist there, apparently, so I can dance like there’s no tomorrow and finish my college app essays there at the same time.
- It totally glitches the fuck out after the drop and I’m going to guess that he maybe used Gross Beat to achieve a lot of the choppy effects? Maybe he’ll say something about it later.
- There’s something a tiny bit off about the last cadence. This is what it is:
I find the transition from a minor chord at the end of each progression to the major chord at the end a little campy and lame, like a progression you might find from a really B sci-fi movie. Here’s what I would have had it as:
You might recognize the last progression as similar to the one Madeon uses in his Raise Your Weapon remix. I really love it because it’s simultaneously stately and very versatile, since it leads straight back into the beginning of the progression (and a lot of other progressions you could think of), but it also does well as a final chord - there’s less of a sense of finality in it, and more one of wonder and consideration of the future, which I think better complements the sounds of someone running away at the end of the song. Don’t worry, this sounds as bullshit to me as it does to you, but I really do feel this way about the chords.
Either way, give it a listen, it’s totally badass, think of Justice goes pop. Really, really nicely done and I can see why Madeon says it’s the favorite song he’s done so far.