Generally favorable reviews - based on 20 Critics

Critic score distribution:
  1. Positive: 15 out of 20
  2. Negative: 1 out of 20
  1. Jun 30, 2011
    The album is filled with garage-sale synths flooded with reverb and nary a hook to be found, sounding, at best, like an unfinished video-game score ("Hey Moon") and, at worst, like a Human League track played backward in a Walkman taped to the skull of a drowning man ("Head for the Country").
User Score

Universal acclaim- based on 8 Ratings

User score distribution:
  1. Positive: 2 out of 3
  2. Negative: 0 out of 3
  1. Nov 14, 2011
    Without a doubt one of the saving graces of the year, this album increasingly becomes all you need to listen to each time you return to it. Each song specializes on melodies that grow into mantras more than earworms, which makes the short time-frame not only convenient but essential. Whereas lo-fi is usually panned to either the "sacrifice for prolificness" or "limitations of intimacy/obscurity" arguments, here the production quality is totally irrelevant, although it detracts some people to the point that it's all they notice; to really understand how inseparable and intrinsic it is to the music, you really need to study Maus's character - interviews of him are themselves exponentially entertaining and worthwhile. The commoner's aesthetic, classic ear for melody, and charming optimism of John Maus on this record and in general make WMBTPCOO the Little Red Book of the post-pop, post-creative-quagmire, post-depressing-post-spinoffs era. Full Review »
  2. Oct 4, 2011
    This one is tough. Is it a pastiche or just bad production? Anyway, itâ
  3. Jul 26, 2011
    John Maus's 3rd album is a funny release. It tests the listeners patience by hiding the vocals in the back of the mix and fortifying them with walls of synths. A winter album released in the summer. Stand out tracks:
    Streetlight, Believer, Quantum Leap. Punching way above his weight this will most likely be my choice for album for the year.
    Full Review »