Deadmau5
4x4=12

Release Date: 2010 | Tracklist

Perhaps the whole equation for House is easily surpassed with the fact that the genre overall reflects some of the easiest work known to man. Due to this, albums like these are always receiving low-end credit despite maybe the albums complete addicting pleasures. It would be too much to ask if the entire album were set to one particular limit, and make it so that no perception for this work would exceed anything more than the substantial "OK" critique. But that critique in sense, coming from one of the most obliged mouse’s to ever be in existence since Jerry, will be seen in a domain of transited influences not often seen before this piece.

Deadmau5, or Joel Zimmerman, is a man who amazes me on a number of levels. His creativity neutralizes the sense of "boundaries", which aren’t too particular in his genre to prevent him from creating ultimatums like this album. due to his imagination, simple songs that have been hundreds upon thousands of times before this album consisted of bells, toots, and whistles along with the simplistic 4/4 kick beat generally come off as addicting, beyond belief. Aside from generalizing the whole concept of the House genre comes the making of this one particular sub-par equation 4X4=12. When the album starts off with "Some Chords", even I couldn’t help but wonder whether or not this was going to be a record that would capture my ears for weeks, perhaps months to come. This song is pretty simple, and you'd think it wouldn’t be too bad. But the sense for this song is that due to its very long time slot, occasionally, especially at first listen, the repetitive sounds used for this song tend to overstay their welcome. They last too long and for the first few minutes the song might just come off as a skipper. But after the first glance, and allowing the song to take its feel, "Some Chords" will ultimately serve as a grand use of introductions to an album like this.

"Sofi Needs a Ladder" is where the album really starts to take off, and it doesn’t matter if it the first listen, or the 100th listen, from here on, the album would really stand as a capturing element of "house" to anyone who listens. Through "Bad Selection", the songs use various distortions and the widely favored backbeats to make use of the simplest of songs. Even "Sofi Needs a Ladder" uses superb vocals, being realistically the only song that does on this album, it's all in the end about the beat. The beat for this album is generic, but still manages to maintain your attention for its imaginative whistling's, and kicks that perfect songs like "Cthulhu Sleeps. The Michael Woods remix for the song "I Said" is yet another good example for exemplary transitions of special effects that really compliment the song nicely. The beats still remain constant, and the rest of the album reflects these traits, but never really gets too old. The addicting senses of this album ar4e toned to perfection and will surely be spinning (in my player anyway) on the player for many times to come.

So to conclude, there’s not much to say on the note of this album. There isn’t much to state on how much work went into the album, or much concern on whether or not this'll appeal to everyone who should choose to meet its genius. The beats alone, of course containing 90% of what this album has to offer its listeners, are truly exhilarating, and stand firmly against the very few faults that I find to be presented in this overall masterpiece. The other notes of this album, including occasional vocals, and some heavily creative distortions with points that are unnecessary to make a huge point of hold their place where they will, and only stand by to make the album even greater than many can perceive.

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3.3 great

Rank: #0 for 2010