In the world of music, countless songs find themselves relegated to the sidelines, often deemed unsuitable for a band’s primary project. These musical gems, perhaps too sonically divergent or thematically intimate, risk fading into obscurity on forgotten hard drives and dusty tapes. However, Edward Anderson, known for his work with The 1900s, decided to unearth these neglected creations, giving rise to Mazes, a project dedicated to exploring these unique musical pathways, or as we might call them, “Maze Songs.”
The Genesis of Mazes: From Demos to Debut Album
Anderson explains that the seeds of Mazes were sown as far back as 2003. “Some of the songs date back to about 2003,” he recounts, “They were just demos sitting on a four-track for years, and I decided to clean house on any potentially worthwhile stuff.” This archival process became the foundation for Mazes’ self-titled debut album. The album is a blend of revisited demo tracks, freshly re-recorded versions, and entirely new material crafted specifically for this project. This approach gives listeners a glimpse into the evolution of these “maze songs” over time.
Central to the Mazes sound is the collaboration between Anderson and Caroline Donovan, both members of The 1900s, alongside Charles d’Autremont, whose multifaceted contributions significantly shaped the album. Anderson emphasizes d’Autremont’s integral role: “Charlie’s influence and musicality can be found all over this record,” noting his involvement in “performing, arranging, recording, and mixing.” D’Autremont’s background as a painter, his relatively recent foray into music, brings a distinctive artistic sensibility to the project, enriching the textures of these “maze songs”.
Exploring a Lo-Fi Soundscape: The Essence of Maze Songs
Initially, Anderson envisioned Mazes as a “super lo-fi psychedelic country album.” While that specific direction shifted, the commitment to a lo-fi aesthetic remained, shaping the core sound of Mazes. The defining characteristic of these “maze songs” is their raw, honest, and personal nature, intentionally less polished than The 1900s’ typical output. This sonic choice isn’t a flaw but rather a deliberate artistic decision, lending an intimate and unvarnished quality to the music.
Anderson views Mazes as a liberating space for musical experimentation, a departure from the established sound of The 1900s. “The process of doing Mazes has made me realize that The 1900s don’t have to be stuffy,” he reflects. This suggests that the exploration of “maze songs” is not only about giving forgotten tracks a new life but also about fostering creative growth and challenging artistic boundaries for Anderson himself.
Collaborative Spirit in Chicago: Enriching the Maze Songs
The Mazes project became a collaborative hub within the Chicago music scene, drawing in talents like Scott Masson (Office), Devin Davis, and Graeme Gibson (Disappears, Fruit Bats, Joan of Arc). Anderson highlights the organic nature of these collaborations: “These are musicians with incredible talent. The songs pretty much called out for these dudes, I wasn’t just trying to fit them into whatever.” The recording sessions were spontaneous and informal, fueled by creativity and camaraderie, with musicians contributing their unique skills to the evolving “maze songs”. Kristina Dutton, a founding member of The 1900s and a long-time friend, also rejoined Anderson, adding another layer of depth to the project.
Mazes’ self-titled album, a collection of meticulously crafted “maze songs”, offers listeners a unique sonic journey. Released on March 17 by Parasol Records, it’s an invitation to explore the intricate and personal musical pathways carved out by Edward Anderson and his collaborators.
