Hailed as “extremely musical” by Chris Douridas (acclaimed DJ and Music Supervisor (American Beauty, One Hour Photo, Shrek 2)), Madden’s songs have not only been played on Los Angeles’ influential KCRW and KLOS, but also on Santa Barbara’s major radio stations KTYD and KJEE. In addition, college radio across the nation has embraced his sound. Michael Davis (General Manager for WUSM, The University of Southern Mississippi’s radio station) called Madden a “great songwriter” and his single “Scribbledown” went to number one out of almost 8,000 songs on garageband.com. The marked change with Don’t Come Back Too Small (DCBTS), Madden’s latest full-length release, is his own role in the studio. With help from a talented pool of guest musicians (and major film scoring talent Bruce Winter (Deadwood, The Princess and the Warrior, Iron Jawed Angels)), Madden was responsible for the sound of the album (from engineering to production and mixing). These recordings call to mind a more textural and experimental soundscape than any he has previously attempted. Aside from Don’t Come Back Too Small, he produced and engineered two thirds of the the Corporate Nightmare release Skin and Light by The White Fires of Venus, and is currently recording CNR’s latest signing , Kinothek, and their promising debut (think if The Killers met the Cure wearing My Morning Jackets). Inspired by such envelope pushing artists as Wilco and Death Cab for Cutie, and their often unconventional recording techniques, everything from living room recordings and more fleshed out studio recordings were used. As always, the 14 songs on DCBTS feature Madden’s vocally driven style, previously compared to Nada Surf, Neil Young and Ben Kweller. From Madden's earliest musical goal (to be a singing drummer, like The Band’s Levon Helm) to stepping out from behind the drums for the guitar and the strange chords and arpeggios waiting to be discovered there, he’s always excited about the next thing. For now, DCBTS is it. Hope you find something in there.