John Maus is sort of a famous, not really famous person. He was once a member of Ariel Pink’s Haunted Graffiti and a Keyboard Player with Panda Bear. By most reviews of his work he is a loner, a slacker, kind of a tortured and socially awkward person, a misfit, and probably a shittier version of Ariel Pink. No disrespect to Ariel Pink, but when I listen to John Maus, I can’t help but wonder if it is, perhaps, the other way around. Not to say that either is a shittier version of the other, there is just a greater question as to who is taking cues from whom. Reviews of his work have come around from being fairly awful on Songs to mediocre on Love is Real. This is somewhat of an upward trajectory, so it’s possible that with a new album, he could be getting into luke warm territory. Personally, I think he has all the makings of a cult figure and an underground icon. He may not get a lot of love from critics, but he certainly does from other artists. I think John Maus may prove to be a great example of Advancement Theory in later years. A talented and intriguing artist who was a little too far ahead of his time to be appreciated. If you are not familiar with advancement theory, you can learn more about it here at the awesome Advanced Theory Blog. He’s got a little bit of an Anton Newcombe thing going for him. He could easily be the successful subject of a documentary. He’s attractive, intelligent, talented, misunderstood, and by the sounds of his music very possibly, if not definitely insane. His lyrics are sometimes a little reminiscent of Swans, the perfect soundtrack for plotting and carrying out your own death. I’m not sure if he’s kidding, but I don’t really care.