When John Maus (never to end up being confused using the John Maus of Walker Brothers popularity) wasn’t performing keyboards for Pet Collective, Panda Carry, and Haunted Graffiti, he was composing and saving his own hermetic, experimental, and quite often misunderstood compositions. Sketching on performers like David Bowie, Scott Walker, and Pleasure Division, Maus’ enlarged, distorted, and unabashedly unusual debut, 2006’s Music, was pretty much reviled by every music critics within earshot. CMJ composed, “It had taken this Ariel Green cohort five years to create and record his debut record, and only 5 minutes to become even more frustrating than Ariel Green.” Commenting on Maus’ vocal design, Drowned in Sound’s Mike Diver stated that although some listeners “…will hear just a little Nick Cave in it…others can hear a guy crapping out of his mouth area.” Regardless of the severe criticism (a lot of which Maus submitted, to hilarious impact, on his MySpace profile), Maus continuing to generate brand-new materials. His second record, Love Is True, premiered on Upset the Tempo in 2007. Four years afterwards, he came back with WE SHOULD End up being the Pitiless Censors of Ourselves, which highlighted a few of his most powerful and nuanced music to time. 2012 saw the discharge of A Assortment of Rarities and Previously Unreleased Materials, a compilation of b-sides and unheard recordings produced between 1999 and 2010.