6月にリリースされたアルバム「We Must Become the Pitiless Censors of Ourselves」が
MusicウェブサイトPitchforkで8.4という高評価をゲット！
「以下記事から抜擢」
The avant-pop songwriter whose career has intersected with that of Ariel Pink focuses on melody and delivers a delightfully weird full-length. Maus keeps his vocals awash in gothic reverb and echo-driven effects, blurring the lines between what he's saying and emoting. Sometimes, as on "Cop Killer", a Jan Hammer-indebted number on which Maus sings over a chilled bed of keys, the results are funny and creepy at the same time. Sonically, Maus is working a minimal, primitive setup: sputtering drum machines and an arsenal of 1980s-vintage, drugstore synth presets undercut his lyrics just as much as those exaggerated, often grotesque vocal turns do. These aren't the kind of earworms you want to find yourself singing aloud in public, but it might happen anyway.
http://
MusicウェブサイトPitchforkで8.4という高評価をゲット！
「以下記事から抜擢」
The avant-pop songwriter whose career has intersected with that of Ariel Pink focuses on melody and delivers a delightfully weird full-length. Maus keeps his vocals awash in gothic reverb and echo-driven effects, blurring the lines between what he's saying and emoting. Sometimes, as on "Cop Killer", a Jan Hammer-indebted number on which Maus sings over a chilled bed of keys, the results are funny and creepy at the same time. Sonically, Maus is working a minimal, primitive setup: sputtering drum machines and an arsenal of 1980s-vintage, drugstore synth presets undercut his lyrics just as much as those exaggerated, often grotesque vocal turns do. These aren't the kind of earworms you want to find yourself singing aloud in public, but it might happen anyway.
http://
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