At the fold of a year that year has spelt increased visibility for his live capabilities, Joel Zimmerman strikes back under his Deadmau5 moniker with ”>album title goes here<” for Mau5trap in a bid to reconcile the energy of his live displays with the studio skill that made them possible.
But from the audacious grind of opening track ‘Superliminal’, it is evident that the laurels are yet to be rested on where the valiant mau5keteer is concerned. While ‘Channel 42’ alongside Wolfgang Gartner packs same perky Electro punch of 2011’s ‘Animal Rights’ with an uplifting twist, original productions ‘Closer’ and ‘October’ stay true to inventive synth work and sharp driving beats that have characterised his mouse-headed overhaul from the outset.
But never one to rely on the comfort zones of the modern industry, Zimmerman is out to challenge expectations with this latest full-length endeavor. From the unlikely union of Gerard Way’s aggressive top line to the gracious harmonies of Imogen Heap for ‘Telemiscommunications’ right through to ‘Failbait’ alongside Cypress Hill, his diverse yet consistent approach is what carries this record from anything the Canadian producer has done before. While soft-spoken story-piece ‘The Veldt’ alongside Chris James may have prematurely set expectations in motion, few could have anticipated that the well-branded producer would bounce back with such a sophisticated album. To the avail and frustration of clubbing enthusiasts across the globe, Deadmau5 remains the more unorthodox superstar to bless the 21st century, proving 2012 to be the year in which Joel Zimmerman found all the right buttons to push.
Words by Dan Carter