Lyrics by John Maus
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- Bennington
- Hey Moon
- Just Wait Til Next Year
- Rights For Gays
- ... And The Rain
- Believer
- Big Dumb Man
- Cop Killer
- Do Your Best
- Don't Be a Body
- Don't Worship
- Head For The Country
- Heaven Is Real
- Keep Pushing On
- Love Letters From Hell
- Maniac
- My Whole World's Is Coming Apart
- Old Town
- Pure Rockets
- Quantum Leap
- Sex With God
- Streetlight
- Tenebrae
- The Crucifix
- The Silent Chorus
- Time To Die
- Times Is Weird
- Too Much Money
- We Can Breakthrough
John Maus (born February 23, 1980) is an American musician, composer, singer, and songwriter known for his baritone singing style and his use of vintage synthesizer sounds and Medieval church modes, a combination that often draws comparisons to 1980s goth-pop. His early lo-fi recordings anticipated and inspired the late 2000s hypnagogic pop movement. On stage, he is characterized for his intense displays of emotion while performing. He is also a former teacher of philosophy at the University of Hawaii, where he later earned his PhD in political science. Maus' early influences included Nirvana, a-ha, Syd Barrett, Jim Morrison, and composers of the Medieval, Renaissance, and Baroque eras. In 1998, he left his hometown of Austin, Minnesota to study experimental music at the California Institute of the Arts. When he befriended and first worked alongside classmate Ariel Pink, he took a greater interest in pop music. He produced most of the music from his first two albums Songs (2006) and Love Is Real (2007) on cassette tape with an early 1990s sound bank. The albums generally drew negative reviews upon release, and it was not until the success of his third, We Must Become the Pitiless Censors of Ourselves (2011), that he became more widely accepted as an outsider artist. Following a five-year absence from public appearances and releasing new music, he returned in 2017 with the album Screen Memories. Writings about Maus frequently link his music to his academic vocations, although Maus himself denies composing with an aesthetic or political theory in mind. He says that on some of his songs, his intention is to investigate "forgotten" electronic palettes, harmonies that were historically associated with "the divine", and lyrics that follow certain social idioms to their "absurd conclusions". His dissertation, "Communication and Control" (2014), discusses the influence of technology on social control.
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