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The vocal sample is from a monologue in The Brain From Planet Arous, a black-and-white, 1957 sci-fi indie flick. It’s actually a sample of Frederic Chopin’s Piano Sonata, Op. This creepy organ intro is bone-chillingly cool. Question: Why does “Moar Ghosts N Stuff” precede “Ghosts N Stuff” on 2009’s For Lack of a Better Name? Answer: Because deadmau5 is a troll, and he does whatever the hell he wants. This weird little tune is a get-up-and-go machine. No one can stay seated when a tune like this gets dropped. The anxious, rising motion of the hook is the stuff dance floor come up dreams are made of. It served as the album’s lead single, and originally, it was supposed to be the final track on 4×4=12. Who’s ready to get weird? We are, and deadmau5 is bringing the electronic, alien funk heavy on this cut from 2012’s > album title goes here <. Alright, I just made all that up, but doesn’t it sound like that? It’s called Fast and the Furriest, and it is all about one adrenaline junky porker who makes his way into the Tron world and unlocks the true supersonic potential of those light bikes. At just more than nine-and-a-half-minutes, it tells the supersonic story of, well, let’s pretend it really is a piggy racecar driver. Track five from while(1<2) has got to be one of the most unique weapons in deadmau5′ musical arsenal.

They shared a video of themselves listening to it in the studio, upon the reception of which deadmau5 announced “Snowcone” as one of his favorite songs on the new LP.ġ6. It’s light and airy atmosphere captures the feeling of a light snow, and as we move forward into the beat, we find ourselves exploring deadmau5 hidden love of hip-hop rhythm. The first official single from deadmau5′ latest album, W:/2016Album, earns its name. He deviates after the first two minutes, though those five notes continue to make their way in and out of the melodic lines. Daft Punk also used the sample, officially titled “Wild Signals,” as the intro to its Alive 2007 set, but deadmau5 takes the motif and turns it into something even grander. That exciting five-note progression should be instantly recognizable as John Williams‘ alien-speak melody in Close Encounters of the Third Kind.