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.
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. What's left is bizarrely unfunky, unambiguous, unsexy and unreconstructedly macho: Maths or Fn Pig offer a noisy euphoria that makes you think not of the communal transcendence of the dancefloor, but a bloke from sales with his tie wrapped round his head, waving a can of Relentless in the air and roaring. It's house music that Frankie Knuckles wouldn't understand, but Finchy from The Office would get straight away.
For all his dismissal of pop's co-opting of EDM, Deadmau5 deals in an amalgam of sounds indistinguishable from those you'd find on a pop R&B single -- the distorted bass wobble of dubstep, Auto-Tuned vocals, 80s synths (including, on Channel 42, the kind of piercing electronic wail that preceded Ray Parker Jr's insistence that he wasn't 'fraid of no ghost), epic breakdowns. All this is set to beats that steadfastly decline to swing, a lock-stepped quick march across the dancefloor. It's The Triumph of the Will.i.am.
I don't think I've ever even heard a song by Deadmaus. Not that I was aware of, anyway. He's the guy with the helmet, right? No, I mean that other guy with the helmet.
Dubstep means progressive trance with 3 minute tracks instead of 20 minute, and the phaser-sound in the break replaced with wubwubs, right?