Mazes are a funny old bunch. They first walked out into the world with a lacksey-daisy slacker rooted debut, then switching everything on its head with a much more experimental follow-up. There still seemed to be a super tight algorithm running through second album Ores & Minerals, but the tracks intended to drone rather than splice. Better Ghosts sees them twist once again, the ten track album leading us down yet another route to the ones trodden before.

After a brief, sweeping intro, the record dives straight in with 'Hayfever Wristband'. It's immediate and infectious; a slightly schizophrenic riff unfurling at rapid speed whilst unhinged drums splatter through the spine. The guitar tone verges on paranoid; an almost horizontally laid back vocal creating a strange bout of contrast which takes a while for the brain to process. Like a wolf in sheep's clothing, it appears as a frantic little demon upon first listen, yet after giving it time to settle, it presents itself in an ultimately more relaxing manner. The lipstick kisses from both previous records - whilst subtle - are there for all to see; the track setting the scene for what is to follow.

'Cicada' brings things down a touch, appearing more as a drawn out field recording than a fully focused song. Again, it goes some way to establish an atmosphere for the entire record - everything sounds wonderfully orange, a desert formed guitar line bathing in burnt ochre and warmth. 'Donovan' bridges the gap between these sparse audio experiments and the more rounded tracks, attempting to initiate a round of fully formed lyrics then slipping back into repetition of lines against a few hums and whistles. Like the majority of the release, it sounds superbly hypnotic, the jarring elements of individual instruments coming together to form a sort of overarching ooze.

From here on out, Better Ghosts takes on a (slightly) more finished sound, 'Higgs Boson' and 'Notes between F & E' both appearing as the tracks created with most focus on making actual songs. 'Organ Harvest' builds in a similar fashion, utilising yet another distinctive riff to prop up the drawn out sounds coming from Jack Cooper's mouth. It's a strong track, yet it gets completely overshadowed by what comes next. A short, anticipation inducing interlude puts your ears on edge, before the standout track from the album. 'Sandgrown', finally begins with a brilliantly simple bass line. The guitar line once again takes centre stage when it eventually comes in, but it serves to complement the brooding undertones that started it off. The lyrics here are great too - the chorus parading a classic loud/quiet vocal spring - yet it is the final minute of the track that really captures the attention with its forever climaxing freeform.

There seems to be a trend that emerges when you put a few relatively accomplished musicians all together in one room. First off, they realise that they can play that 'thing' they set out to play. Then they realise they can play that other 'thing' too. And another. The fact is, they can probably play most styles, but whether this becomes a hindrance or a help is as good a judgement of the quality of a band as any. Indicative of their name, Mazes don't stick to one formula, instead they chop and change with different evolutions of their sound. It's a hard thing to pull off well whilst keeping people interested, but one they are doing without breaking a sweat.