This album starts off with “Outer Space”, and it’s a very smooth intro with a surprising amount of sound play, which is great to hear from John. But like I said, most of all it’s smooth, reminding us that John has come a LONG way from his legendary Karaoke nights. There are some really great sound effects and some snarky lyrics as well. By this point, John’s barely even an outsider anymore, really becoming a coherent songwriter. There’s still that bizarre humor aplenty underneath it all and tons of Gothic vibes. But outside of that “Outer Space” is business as usual for John, in the best way. Meaning, John really sounds great, and this is totally a fine introduction to his usual very whimsical world. Now, if you’re familiar with John’s work, you should absolutely know what to expect by this point. “Dumpster Baby” is bouncy and incredibly chilly and uninviting. This one is alright, but part of me does feel like this is a back step for John. That tongue in cheek humor is there, and there’s certainly an outsider feel to this. And the production on this one remains a huge step ahead of what Maus usually pulls together. But for me, this one sounds like a refurbished track from one of his early albums. At the very least, “Episode” reels us into the sort of whimsical, fantasy world I love to lose myself in when it comes to John Maus. This one is still just as kooky and bizarre, but here John once again reminds us just how far he’s come. As experimental as this track is, John sounds coherent, which is more than I can say about his early work. I love the upbeat vibe to this, it takes me back to just how great some of the upbeat moments of “Screen Memories” were. Not to mention, I just love hearing John in this mindset. It’s jolly and all, but it has that darkness to it that’s just so captivating, and it makes John Maus one of his genres most intriguing figures. Then we have “Drinking Song” which is a real shot out of left field. It’s short, but this one has just so much going on. It has this intense, low groove and these soaring synths that can’t sit still to save their lives. It’s actually a really captivating intro, and I personally would love to hear John play with more of these sounds.
The more this album rolls on, I have to be impressed with just how confident John sounds. Take a track like “Figured It Out” and compare it to the early days of his career where John was basically writing little snippets of tracks. Then we have this here, which has countless layers to it and John’s maniacal performance in the background. Which honestly, I wish we heard a little more of. This track at it’s core sounds fine, but John’s performance here sounds more like an afterthought than anything. I do have to give John credit though, he keeps reeling me in with countless whimsical tracks like “Middle Ages”. While John once again isn’t front and center, at the very least here he doesn’t sound like an afterthought. This one has some great creeping synths and a really thick, cloudy atmosphere. But as “alright” as this track is”, I can’t help the feeling that there’s a very obvious reason why some of these tracks didn’t land on “Screen Memories”. They certainly aren’t terrible, but they almost come off like demos. Very progressive demos that work for John, but demos nonetheless. On the other hand, “Mind the Droves” wipes out everything I just said. This one is far from an incomplete though, and easily could have been a single I love layers and layers of synths that just come off so alien, and just how intense and groove-centered this one is. It’s just so hulking and gigantic and easily the darkest track of the bunch. Hell, John sounds like some demonic narrator and these drums just get bigger and better by the second. This is the sound I want to hear John dive further and further into, and reminds us just how strong those Gothic influences are. This album rolls on with “Privacy”, and once again I feel like it’s these heavier, darker tracks that I really feel like John needs to stick with. Like, if John got conceptual with this sound and made an album in this style it would blow this genre out of the water. This one is just so hulking, massive, and dripping with pure evil. And just hearing John perform at the center of it all is mesmerizing. This track is also one of the more hypnotizing here, it’s hard not to get completely entranced by the numerous layers and seemingly hundred different directions this one wants to go in. “Privacy” is fantastic and so is it’s sound, I just really hope John runs with it in the future.
On the other hand, “Running Man” is intense in a very different manner, with hectic synths and John’s very manic performance. But as much as I usually love to hear John in this atmosphere, which trust me, I do, this track sounds like a leftover once again. I don’t get the feeling that this is some interesting b-side or alternate take. I just listen to this and it’s blatantly obvious why John left this off the album. I praise the intensity, but everything else about this one falls apart quickly. But I will say this, John’s very tortured performance towards the end is something special. But in a bizarre twist, “Second Death” may just be the warmest and most inviting track not only here, but that John has touched in a long time. It’s just so smooth and sweet on the ears. Hell, I don’t even mind that this one is so short and practically an afterthought, it breaks up this album nicely. Then we have “1987”, and I can’t help but really pay attention when John gets in these zones. Once again, John is working with this laser-focused, intense atmosphere. I just really REALLY wish this one was written out a little more. John may still be an outsider, but I feel like he was just so far past these sort of repetitive tracks with only a few lines. Granted, it still does work for him and makes for a pretty hypnotic track. But once again, I can’t shake the feeling that this is a back step. But as a finale, let me tell you, “I Want to Live” is a let down on all fronts. This is one of John’s spaciest tracks here, but in the worst way. Some of his heavier tracks here have just come off so unfocused. This one just sounds like John screwing around. No, it’s not pleasant, it’s just hard to place and weird. Not to mention, songwriting-wise this album has taken an absolute nosedive in these later tracks.
The more this album rolls on, I have to be impressed with just how confident John sounds. Take a track like “Figured It Out” and compare it to the early days of his career where John was basically writing little snippets of tracks. Then we have this here, which has countless layers to it and John’s maniacal performance in the background. Which honestly, I wish we heard a little more of. This track at it’s core sounds fine, but John’s performance here sounds more like an afterthought than anything. I do have to give John credit though, he keeps reeling me in with countless whimsical tracks like “Middle Ages”. While John once again isn’t front and center, at the very least here he doesn’t sound like an afterthought. This one has some great creeping synths and a really thick, cloudy atmosphere. But as “alright” as this track is”, I can’t help the feeling that there’s a very obvious reason why some of these tracks didn’t land on “Screen Memories”. They certainly aren’t terrible, but they almost come off like demos. Very progressive demos that work for John, but demos nonetheless. On the other hand, “Mind the Droves” wipes out everything I just said. This one is far from an incomplete though, and easily could have been a single I love layers and layers of synths that just come off so alien, and just how intense and groove-centered this one is. It’s just so hulking and gigantic and easily the darkest track of the bunch. Hell, John sounds like some demonic narrator and these drums just get bigger and better by the second. This is the sound I want to hear John dive further and further into, and reminds us just how strong those Gothic influences are. This album rolls on with “Privacy”, and once again I feel like it’s these heavier, darker tracks that I really feel like John needs to stick with. Like, if John got conceptual with this sound and made an album in this style it would blow this genre out of the water. This one is just so hulking, massive, and dripping with pure evil. And just hearing John perform at the center of it all is mesmerizing. This track is also one of the more hypnotizing here, it’s hard not to get completely entranced by the numerous layers and seemingly hundred different directions this one wants to go in. “Privacy” is fantastic and so is it’s sound, I just really hope John runs with it in the future.
On the other hand, “Running Man” is intense in a very different manner, with hectic synths and John’s very manic performance. But as much as I usually love to hear John in this atmosphere, which trust me, I do, this track sounds like a leftover once again. I don’t get the feeling that this is some interesting b-side or alternate take. I just listen to this and it’s blatantly obvious why John left this off the album. I praise the intensity, but everything else about this one falls apart quickly. But I will say this, John’s very tortured performance towards the end is something special. But in a bizarre twist, “Second Death” may just be the warmest and most inviting track not only here, but that John has touched in a long time. It’s just so smooth and sweet on the ears. Hell, I don’t even mind that this one is so short and practically an afterthought, it breaks up this album nicely. Then we have “1987”, and I can’t help but really pay attention when John gets in these zones. Once again, John is working with this laser-focused, intense atmosphere. I just really REALLY wish this one was written out a little more. John may still be an outsider, but I feel like he was just so far past these sort of repetitive tracks with only a few lines. Granted, it still does work for him and makes for a pretty hypnotic track. But once again, I can’t shake the feeling that this is a back step. But as a finale, let me tell you, “I Want to Live” is a let down on all fronts. This is one of John’s spaciest tracks here, but in the worst way. Some of his heavier tracks here have just come off so unfocused. This one just sounds like John screwing around. No, it’s not pleasant, it’s just hard to place and weird. Not to mention, songwriting-wise this album has taken an absolute nosedive in these later tracks.
Rating: 7.5/10
Give A Listen To: “Outer Space”, “Episode”, “Mind In Droves”, “Privacy"
Least Favorite Track: “Running Man”
Genre: Psychedelic Pop / Hypnagogic Pop / Post-Punk / Synth Pop
Overall Thoughts: This is supposed to be a companion piece to John’s album from last year “Screen Memories”. And in a lot of ways, that’s pretty obvious. There are numerous moments on here that it becomes pretty clear that this was recorded around the same time. However, “Addendum” is a very different animal. For the most part, it’s much more whimsical and hazy, which does sometimes make this come off as unfocused. But in times, the Gothic Pop and Post-Punk vibes of John’s album from last year make a glorious return. This is a slightly above average companion album, with plenty of tracks that show that Maus is one of the more creative minds in Psych Pop still. But as every companion album, in parts, this is a mixed bag, and it’s sort of obvious why some of these were left from the “Screen Memories” project.
No comments:
Post a Comment