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Deadmau5 “while (1<2)” – Album Review

Mau5trap (2014)

For all of his continuous dismissals of the EDM scene, mousehead-wearing Canadian Joel Zimmerman appeared to succumb to the “if you can’t beat them, join them” approach with 2012’s Album Title Goes Here, a joyless and generic attempt to court the fratboy crowd which exposed him as something of a hypocrite. Thankfully, follow-up album while (1<2), his seventh album recorded under his deadmau5 moniker, suggests that one of dance music’s most outspoken DJs can in fact put his money where his mouth is.

Wisely ditching the formulaic drops, brostep wobbles and four-to-the-floor beats of its predecessor, the 33-year-old has instead opted to pursue an ambitious blend of neo-classical, progressive house and industrial electronica with a whopping 25-track 139-minute two-disc affair.

while (1>2), therefore, may alienate a large proportion of deadmau5’s recent converts, with only a handful of tracks falling into the club banger territory – the robotic electro of “Infra Turbo Pigcart Racer” and the Daft Punk-esque synth funk of closer “Seeya” the best of a surprisingly small bunch.

But although the string of seven-plus-minute epics and meandering interludes would test the patience of even the most loyal deadmau5 fan, Zimmerman’s new-found experimental streak pays off more often than not.

Alongside remixes of Nine Inch Nails’ “Survivalism” and How To Destroy Angels’ “Ice Age,” “Somewhere Up Here” and “Tears In My Head” also both channel Trent Reznor’s signature digital gloom to hypnotic effect. “Coelacanth I” is a stunning burst of cinematic ambience which sounds like the score to a long-lost sci-fi classic, while the gorgeously delicate piano instrumentals “Invidia” and “Superbia” and the lush proggy chillout of “Monday” prove that Zimmerman’s softer side can be far more engaging than his harder edge.

Having recently added Arcade Fire to his list of celebrity beefs with a rant about their recent “real instruments” jibe, deadmau5 still seems determined to become a rent-a-quote tabloid fixture. But having finally produced a record which matches his super-sized ego, he’d perhaps now be better off just letting the music of while (1>2) do the talking instead.

3 / 5 stars     

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About the Author


Jon O'Brien's love of music began as a six-year-old after becoming bizarrely transfixed with the 80s poodle rock of Heart, Europe and Def Leppard. Switching his attention to pop icon Michael Jackson, he then became addicted to the UK Top 40, becoming a rather pointless walking Wikipedia of chart positions in the process. Driving his poor neighbors up the wall while learning to play the drums as a teen, he toyed with the idea of becoming a musician, but in studying Journalism at the University of Central Lancashire, he realized heÕd rather write about music than perform it. Since then, he's written thousands of reviews and biographies on everything from bubblegum pop to death metal, but electronica remains his main passion, with everything from Aphex Twin to Zero 7 in his spare room-consuming record collection. Jon resides in northwest England near Liverpool.

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Posted in: Album Reviews, Electronic Music, Featured


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