User Score
8.1

Universal acclaim- based on 10 Ratings

User score distribution:
  1. Positive: 8 out of 10
  2. Negative: 0 out of 10
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  1. Jul 26, 2011
    9
    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.
  2. Nov 14, 2011
    10
    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 ofWithout 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. Expand
Metascore
75

Generally favorable reviews - based on 20 Critics

Critic score distribution:
  1. Positive: 15 out of 20
  2. Negative: 1 out of 20
  1. Mojo
    Dec 12, 2011
    60
    If the original Assault on Precinct 13 soundtrack had been made by a time-shifted Let's Dance Bowie, you'd be most-way there. [Aug. 2011, p. 104]
  2. The Wire
    Aug 17, 2011
    70
    Where the vocals are murky, the synthesizers have a queasy over-clarity, poised somewhere between the repellent and the sublime. [Aug 2011, p.58]
  3. Q Magazine
    Aug 8, 2011
    80
    American producer conjures up dazzling electronics. [Aug. 2011, p. 123]