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Reviews of Deadmau5’s latest offering, >Album Title Goes Here<, are beginning to trickle in, and, while not negative across the board, some have really taken to ripping the loudmouth pseudo-DJ/producer a new one. Here’s just a sample of a few good ones.

Via The Guardian:

From the outside, it’s inexplicable. Perhaps examining the work of Joel Zimmerman can shed some light. As Deadmau5, he is not only arguably EDM‘s biggest star – as evidenced by a recent Rolling Stone cover – but also the scene’s self-appointed spokesman. He took Madonna to task for the scarcely imaginable crime of mentioning drugs at a rave, suggesting it was akin to “mentioning slavery at a blues concert”. It was redolent, he said, of the days when “a dark veil” hung over dance music, before he and others had “taken EDM so goddamn far”. By this “dark veil” period, he presumably meant the 35 years when dance music had to content itself with merely providing a glorious, euphoric voice for disenfranchised minorities, being a genuine countercultural phenomenon, repeatedly revolutionising music and changing the face of popular culture. This, of course, was before it found its true, noble calling: soundtracking Las Vegas pool parties and providing music for gurning frat boys to mosh to.

Alex Petridis continues…

Perhaps Deadmau5 appeals to a middle-American audience traditionally resistant to dance music because he seems to have taken a genre born out of a largely black, largely gay club scene and ruthlessly expunged any lasting sonic evidence of its birthplace. You can hear his style’s roots in the big stars of 90s electronica, their respective sounds adjusted to cut them adrift from the music that inspired them. It’s the Chemical Brothers without their love for hip-hop and Detroit techno; Daft Punk without their deep understanding of Chicago house; the Prodigy without their roots in breakbeat hardcore.

Pretty rough, but is it accurate? Well, yeah. Fact Mag also lambasted Mr. Zimmerman’s album.

Via Fact Mag:

And that title, ‘Subliminal’… as if the track’s so deft that with a drug-mystical mysteriousness it infiltrates the listener through their subconscious. It doesn’t. It enters at the crappy top soil of your bone-hard mind, lodges there, and becomes numbingly obvious within the space of a half-minute. Then, emptying its infected bowels on Daft Punk’s legacy – as more and more albums will do in the coming years – ‘Maths’ re-contextualises Homework‘s beautiful wump-bass within a square schematic of accordant synth progressions and unaccented counter beats. This is what’s called ‘totally missing the fucking point’. It was ‘Da Funk’, not da crypto-totalitarian Quaalude-fucked gabba, as concocted by a rheumatic Middle England vicar. ‘Channel 42′ repeats the format (the album does that a lot) but adds shite trance builds and one-finger versions of the proggy space synths from Discovery’s 5555 suite. That Zimmerman has in so many words denounced dance music’s entire European history as some kind of dark ages, while plagiarising with the utmost cynicism and zero craftsmanship the music, is pretty much unforgivable.

You can imagine that Zimmerman’s love/hate relationship with the press will only get more complicated. We can only hope so because it seems kind of unfair for Zimmerman to be reviewed by anyone over the age of 15. Check out one of those incredibly imaginative album tracks, below.




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