My circle of friends has always regarded Deadmau5 as being “that redundant electronic artist,” but his newest album, uniquely titled “Album Title Goes Here,” is shockingly fresher than his previous works.
While Deadmau5 has typically fallen under the general “electronic” genre, this album does seem to have more influences from other genres, made known through the addition of pop rock, heavier rap presence and more consistent dubstep “womp-womps” than previous compilations of his.
As usual, he does a great job cleverly incorporating offbeat rhythms and effects into this ethereal album, but that is not to say “Album Title Goes Here” is anything that trumps his former albums. While this album did meet my expectations, they did not surpass them.
I have always viewed Deadmau5 as one of those consistent artists that offers a reliably solid album every few years but does not often step outside of his comfort zone. This album shattered that stigma. I did not think it was possible, but this album is even catchier than his 2010 release, “4×4=12.”
For some time, Deadmau5 has been the name in electronic music, but now I feel he is attempting to broaden his horizons with other artists of varying genres.
Popular names, such as Wolfgang Gartner, Cypress Hill, Imogen Heap, Chris James and Gerard Way, vocalist for My Chemical Romance, are featured in this album. Of the songs featuring these guests, “Professional Griefers” is by far the best. The entire song is a spectrum of rave-like goodness. It features classic upbeat techno riffs that Deadmau5 is known for: powerfully half-spoken, half- rapped verses; an upbeat, Friday night party chorus; and an epic video of two giant metal mice fighting. The video is definitely worth watching.
Following eerily close behind is “Failbait,” featuring Cypress Hill. While Cypress Hill hovers near their normal song structure and rapping style, Deadmau5 wrote some very interesting music for this track. I feel like it is a cross between late 1990s underground rap and current underground electronic music. It is important to note that Deadmau5 did not try to make this song a “hit” on the album — he merely strove to collaborate with a mutually respected artist for five minutes to form an atypical mix with a legendary rap group.
It is refreshing to see Deadmau5 sticking close to his roots instead of the goal of acquiring a new pretty penny.
While I tend to like Deadmau5’s older music better than his newer compositions, this album is another solid performance from the scrawny man behind the mouse mask, and it is a step in the right direction for his career as the icon of the electronic age of music.
Album: “Album Title Goes Here”
Release Date: Sept. 24, 2012