Madison Avenue

It's been a long time since Australian music produced a phenomenon to match Madison Avenue. Less than a year ago, Andy Van and Cheyne Coates watched as their debut single, the insanely catchy "Don't Call Me Baby", quickly became a massive hit in Australia.

It then repeated the feat in the UK, going straight in at number one, while also notching up a succession of impressive chart placing all over Europe and a coveted number one spot on the Billboard U.S. dance chart. Then, faster than you could say 'one-hit wonders', the follow-up, "Who The Hell Are You", went straight to the top of the Australian charts. No wonder the pair picked up two awards - Best Single and Best Debut Artist - at this year's inaugural Australian Dance Music Awards. Now, with a huge and ever-expanding worldwide following salivating in anticipation, comes the Madison Avenue album, The Polyester Embassy. Of course, like most ‘overnight success stories’, Madison Avenue's is nothing of the sort.

Andy Van is one of the vibrant Melbourne club scene's most influential figures thanks to more than a decade as a top flight DJ, his role as one of the founders of the Vicious Vinyl label and his production and remix work. Along the way he's remixed Norman Cook and Pendulum's ARIA Award-winning “Coma” and notched up some major worldwide club hits, most notably Blackout's "Gotta Have Hope", before striking gold with Madison Avenue. Also Andy Van is a man who need little introduction to followers of Australian and world dance music. As a DJ he's held residencies at some of the Melbourne's most successful and longest-running club nights playing to well over a million people in the course of 12-year career (recently he's been spinning discs alongside the likes  of Judge Jules and Danny Rampling in Europe). As a remixer he's added his distinctive touch to numerous singles, including: Traveller & In Motion, Coma and Son of Cheeky Boy (another Norman Cook alias), as well as more mainstream tracks for the likes of Human Nature, Tina Arena and Dead or Alive. As a producer he's been responsible for club hits under a variety of monickers, most notably as Blackout, whose "Gotta Have Hope" was a worldwide underground smash. Finally, as one of the founders of Vicious Vinyl he's helped guide and nurture the careers of many local dance artists, with the label picking up and ARIA award along the way for Pendulum's "Coma".

Cheyne Coates has been a prominent fixture in Melbourne club land for almost as long, originally as a dancer and choreographer before her love of music convinced her to turn her hand to production as well as a passionate defender of animal rights who puts her money where her mouth is, was originally a well known-and highly respected dancer and choreographer before she turned her hand to music. Much more than just the face and the voice of Madison Avenue, she's also worked in all aspects of production, having as much as say as Andy in the sound of each track. Where so many woman in dance music are just to add sex appeal to the work of Svengali-like (and often faceless) producer this is a true collaboration where the end result is much more than merely the sum of its parts.

In fact, initially she and Andy had intended her role in Madison Avenue to be confined to just production duties - it was only when she and Andy preferred her guide vocal for "Don't Call Me Baby" to that of the singer they'd hired that she became the voice of Madison Avenue. The Polyester Embassy is the perfect response to all Madison Avenue's initial success. On "Do You Like What You See", for example, the duo play to their established strengths, setting Cheyne's vocals against a filtered disco loop and galloping groove. "Round and Round" maintains the disco flavour but adds a sax solo, vocodered vocal and lots of floor-pleasing production moving in a fashion that brings to mind Basement Jaxx. "What Can I Do" brings an old school funk vibe thanks to the vintage keys and introduces strings that hark back to the heyday of Philly soul, as does "Fly".

And then there's the funky, R&B-flavoured "Alright", with saucy lyrics and vocals from Cheyne that act as a direct riposte to the 'don't mess with me' persona established by "Don't Call Me Baby" and "Who the Hell Are You". Add the gorgeous ambient reprise, "It's Very Alright", and the closest comparison would be Janet Jackson.

And of course you have the new single “Everything You Need” with its infectious bouncy groove, disco inspired strings and trademark lyrics leaving Cheyne’s vocal stuck in your head long after the track has finished.  It's Madison Avenue's ability to give their fans what they want yet push the musical envelope at the same time that makes The Polyester Embassy so compelling. Sure, there are tunes with the disco inflections and surefire hooks that have got the duo off to such a winning start, but there are plenty of surprises too and a rawer edge to many tracks than the singles might have suggested.

What remains constant is the quality of the songwriting and production, factors that will consolidate Madison Avenue's reputation for cutting-edge club tracks with universal appeal.

Madison Avenue has finally put Australian dance music onto the world stage, racking up two huge hits while maintaining their club credibility. The Polyester Embassy is the proof that it couldn't happen to two more deserving and talented people.

For more information please visit Madison Avenue's Official Website at http://www.madisonave.com.au/