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I would say from a simple consideration, but important: Deadmau5 has become a pop star. Quarrels with 'gentlemen' illustrious Madonna, declarations over the top ("if I had time to stop, I would like to make a record like 'The Wall' by Pink Floyd"), a public that is greatly expanded (aggregating in recent years, many teenager) and live shows mammoth.
The Canadian producer, born Joel Zimmerman, has long since crossed the border of the club then, and now two years away from his latest album "4x4 = 12", is back with this new work entitled "Album title goes here", which the United States has reached the top of the standings dance (and sixth place in the album) and in Canada the second position among the best selling records ever.
Let's get it: his record sixth chapter is a work without infamy and without praise. The positive notes are the pieces that maintain a high concentration danceable as "Superliminal", "Channel 42" (with producer Wolfgang Gartner just entered the family Ministry Of Sound), "October" and especially the excellent and gloomy "Take care of the proper paperwork. " Songs that move the buttocks, but that if we are there to do the fleas, maintain virtually unchanged formula electro debtor in France (see Daft Punk) by Deadmau5.
The negative notes come instead from the collaborations. All of that with Gerard Way of My Chemical Romance in "Professional griefers", a song that would describe electro-emo and exclusively dedicated to the young, not even enhances the prestigious collaboration with Cypress Hill in "Failbait" that could easily be a song of the latter, so low is the contribution of the Rat to the track. And the same goes for "Telemiscommunications" with the good Imogen Heap, a song that highlights the beautiful voice of English singer-songwriter and nothing more. Or even "The veldt" (with Chris James to voice) is another example of pop pure state. Well done for charity, but nothing more.
The commercial success of "Album title goes here" is guaranteed (in fact shown), but the good Deadmau5 you are directing too much in that direction is another fact. They dance is true (and not cheap), but lacks the 'punch' of previous work, it lacks the freshness. Perhaps, sandwiched between long tour and more, this time in Zimmerman seems to lack the desire (and even this is not much).
