In the liner notes for his fifth and latest record, Canadian producer Joel Zimmerman, better known as Deadmau5, gives thanks “for allowing me to say and do whatever the fuck I like.” And that’s exactly what he does on Album Title Goes Here.
The carefully constructed and well-worked album comprises a diverse 13-track listing, from inoffensive club anthems to bass heavy electronic tunes.
The well collated selection of electronic dance music (or basically whatever Deadmau5 felt like) works surprisingly well together, giving fans yet another reason to admire the technique of the already esteemed producer.
Opening track ‘Superliminal’ provides the record’s most aggressive sound, but as the album winds its way through the remaining tracks it’s certainly not lacking in punchy moments.
Stand-out ‘The Veldt’, featuring vocals from Chris James, was not surprisingly the first single to be taken from the album. The catchy club anthem would fill any dance floor with haste.
Guest appearances also come in the form of hip-hop group Cypress Hill, Gerard Way (of My Chemical Romance), and the ever so graceful and melodic Imogen Heap, with Wolfgang Gartner co-producing the vocal-free ‘Channel 42’.
Despite the lengthy tracks exceeding four minutes (‘Fn Pig’ stretching right up to 8:43) the repetitious beats are rarely droning. Hooky electro and slightly pop styled synth separate dance floor anthems ‘Professional Griefers’ and ‘There Might Be Coffee’ from slower melodic trance tracks ‘October’ and ‘Sleepless’, with ‘Closer’ providing a smart blend between the two.
‘Telemiscommunications’ is the prefect ending: delicate vocals from Imogen Heap fill an ambient minimalist track, wrapping up the diverse yet dynamic album.
