Overview

This is a pre-order that will ship on or before October 23rd.

Dazy released MAXIMUMBLASTSUPERLOUD: The First 24 Songs in 2021, which charted a prolific first year of scrappy, drum machine-driven fuzz pop, and established Goodson’s fondness for shorter formats. “I guess maybe I get a little frustrated at the idea that music only counts if it’s coming out in like 10 to 12-song, 30 to 45-minute chunks, every two to three years,” he laughs. “It’s not that I don’t like albums, but I just also think it’s okay to write and release music at a different pace.” This is perhaps an understatement considering that, upon MBSL Vol. 2’s release, Dazy will have put out 71 songs since the project started in 2020, and just 12 of those are on his only full-length to date, 2022’s acclaimed OUTOFBODY. 

Since then–in addition to co-writing songs on Militarie Gun’s 2025 LP God Save The Gun, co-writing and producing with up-and-coming Australian band Peace Ritual, and collaborating with electronic duo Bodysync (Ryan Hemsworth and Giraffage)–Goodson has been unleashing a cascade of standalone singles (BIG Problem b/w Gravity, “Pay No Mind (To The Signs),” “Forced Perspective”) and EPs (Bad Penny, I GET LOST (when i try to get found), IT’S ONLY A SECRET (if you repeat it)), usually released with no warning, each one growing sonically bolder. 

Assembled together with an additional seven new songs as MAXIMUMBLASTSUPERLOUD Vol. 2: 24 Songs From 2023-2026, it becomes clear that all of these releases weren’t just sporadic transmissions: they’re part of a bigger picture of personal and musical progression from a songwriter that’s steadfastly following his own path. “I guess even though Dazy doesn’t sound like typical lone singer-songwriter stuff, I started to accept that it’s a solo project and understand what that actually means to me,” Goodson explains. “Writing songs is how I process my life in real time, it’s not something that I only tap into in the context of an album cycle. I like the way short releases are sort of like snapshots, but they’re all part of a bigger body of work to me.” It might be a bit of an unconventional route, but for Goodson it was a more authentic way of channeling experiences into the songs. “A lot happened in the past few years–my kid was born, people I love passed away or got sick–just lots of real life,” he says. “When I listen to these songs I can really hear myself trying to figure it all out.”

The sonic leap from the first MAXIMUMBLASTSUPERLOUD to this second volume is especially pronounced in the seven new songs, which appear first in the collection’s reverse-chronological sequence. The primitive drum machine programming of Dazy’s early work has evolved into a tangle of head-bobbing loops and intricate production; the guitars are still there, but instead of a wash of fuzz they’re now powerful elements in a collage of samples, mellotron strings, and creatively manipulated found sounds. And above it all there’s Goodson’s affable voice–no longer buried in the noise, grounding every song with undeniable hooks and layered harmonies. And while he’s never been shy about his love of classic alternative music–especially the intersections between rock and electronic that were prominent in the ‘80s and ‘90s–the songs on MAXIMUMBLASTSUPERLOUD Vol. 2 feel like all of those influences are being transmuted into something that really just sounds like Dazy.