Whether he’s evoking Joy Division’s Ian Curtis or Bauhaus’ Peter Murphy, Maus opts to abstract the genre, inserting noise into unexpected places and walking the line between sincerity and surreality. Pitchfork

From the first time I heard this album I was hooked. Listening to it on one commute to university, I cannot but recognise its magnitude. As one ought to know by now, my albums of choice are numinous. There is something great about this album. The wonderful sweeping soundscapes which Maus creates are flabbergasting and thoroughly affecting.

Maus has a full set of songs whose architecture is just as sophisticated and riveting in actuality as it is in theory. Pitchfork

Hey Moon is described as a lilting lullaby. I think it is necessary in this otherwise ominous album to have such a piece. The beautiful synth in the background as well as the track’s slow pace help one to breath again after being overwhelmed. Personally, I would say Cop Killer is my favourite track. This encapsulates what Maus is capable of producing. Cop Killer is the kind of track which necessitates dropping your phone and just listening. Ride the wave of sound, if you can. There’s something special here.

“a lo-fi synth pop masterpiece that manages to give endless aural delights while still being intellectually engaging, and despite having been caught at the center of a whirlpool of current movements, all of which reflect some aspect of Maus’ style, he has only cemented his identity as a singular, unimpeachable figure. When confronted with music like this, it’s impossible not to be a believer. Tiny Mix Tapes

Overall, from Streetlight to Believer; this album is a sensation. Each track is unique and devastating  in its scope. Perhaps Matter of Fact is an exception to the latter statement. But in a way even this profanity is necessary to bring us back to Earth and readies us for the momentous tracks which follow. I am elated to be able to recommend this album to you. Truly, there is something important about it. I hope you’ll agree.