Eclectic Nintendo soundscapes, introspective down-to-earth poetry and Pop Punk providence set the stage for this 32-year-old artist.

Hipster as himself, this bad-ass scholar reaching a Ph.D in political philosophy expresses his ideas on cannibalism at the same time his synth keys hoard heavyweight melodic DNA. With childish-found perspectives like «big dumb man» (2003) and angry felatio dreams heard on «Bennington» (2007) small traces of Bowie and Daft Punk can be appreciated in his rendered path.

The choice of digital sounds are reflections of John’s truth. It’s been said that the problem with electronic music is that it’s too human. It’s impulsive behaviour reciprocally feeds on and off the audience. Having this in mind, you can be transported on to the meant context thanks to seemingly endless filters and effect tweaking mannerism.

Coming on strong on his fourth official album, his artistic endeavours exceed officialness into the realm of ethical and moral ground of producing his own views of music.

John claims that he does not wish to live of his art for it would be price tagged. Ergo the honesty of pursuing art would compromise the purity of the end product.

In conclusion, I personally think that John’s music reflect the freedom of an Indigo child that digests the love of the world in his own personal way. Politics must be left alone to scholars.