Without knowing Mazes is a UK export, you would probably peg them as descendants of Wavves or even fellow international rockers Yuck, two recent acts who have recently tugged back the genres of surf and alt. rock, respectively. However, unlike their predecessors, this release is hard to classify as a genre of its own. Is it punk? Is it alternative? Pop even? Without a doubt, the first single, “Most Days”, is strictly punk, but coupled next to the retro glimmering “Surf and Turf” or the softer, ill-titled “Bowie Knives”, it leaves listeners scratching their heads at what sound this band represents.

Musically, it’s nothing groundbreaking, but what is these days? On the whole, Mazes do find ways to blend together fuzzy guitar and half assed, satirical lyrics, which admittedly makes for an amicable second listen. Once listeners make sense of the 29-plus minutes here, they may have found some hidden gems. “Vampire Jive” and “Eva” combined add up to just over a minute and a half, but offer the most tender moments on the album. The album’s closer, and longest track, “Till I’m Dead” features some heavy rock and punk riffs but chugs too long and misses the station. In hindsight, it’s as if its sole purpose is to move this past EP territory, which it skates on anyhow.

Conceptually, this album is a short burst of energy; a snapshot of a band that’s trying damn hard to find its identity. This works sometimes. On A Thousand Heys, however, it’s an unsuccessful attempt. It’s a out of focus Polaroid, a soggy Pollock demonstration, or, to stick with the name, an unfavorable maze. Given its short time, it’s unlikely you’ll write home about this one.

Mazes is made up of 1900s members Caroline Donovan and songwriter Edward Anderson who teamed up with their “peculiar friend,” Charles D’Autremont, as well as a host of other Chicago musicians to create their sonically delightful Mazes. Their self-described “mid-fi” creation saunters its way from spring into summer acting as the perfect soundtrack for a day spent lying in the grass watching the clouds pass by or people watching on the beach.

According to a press release from Parasol Records, some songs were lying dormant on old 4-track for up to five years before being resurrected in D’Autremont’s Logan Square coach house. Anderson explains why the songs were never used, “I guess I thought a lot of these songs were too simple [for the 1990’s].” D’Autremont took the tapes, unfolded the songs, and allowed them to flourish organically. The album ebs and flows like an ocean current between organic instrumentation and graceful harmonies. Songs to listen to include “I Have Laid In The Darkness of Doubt” with its subtle folk-y twang and “Song for Luke” which instantly grabs the listener with it’s stripped down vocals. Summer is rapidly approaching so make sure you pick up a copy of Mazes, this summer’s soundtrack.

Check Out:
Mazes