Everywhere Bowlegs looks, it seems to be 1992. And a very American 1992 at that. J Mascis is back, on Sub Pop records, and even REM seem to be trying to return to their earlier sound. British bands have not been slow to follow up this nostalgia for Generation X – Yuck’s debut recently broke them with their plaid reinventions. Mazes chase the same lower-than-lo-fi sound, but their approach is just that bit … well, happier than their idols.

Guitars and vocals are just brushed with feedback and interference, a result of the band’s joy in getting these songs down. The tumbling, scattergun effect can be dangerous – there’s always the chance that one of those tumbling guitar intros will sound like knock-off Rembrandts. Mazes, though, bluff it out with equal parts irony and nonchalance. If genius is to make things seem easy, then this debut is … steady … getting there.

Most of the charm comes from the willingness to mix British and American traditions. Listening to ‘A Thousand Heys’ makes obvious the links between 1977 punk and 80s DIY. The lilting falsetto on ‘Bowie Knives’ made us imagine an American Blur. That’s not their only trick. This band can turn their hands to just about whatever they please, including bittersweet songs (‘Eva’ is only 28 seconds long) that would stand up in Paul Westerberg’s canon.

And after all the sharp pop songs, Mazes just take the mick. Curtain closer ‘Till I’m Dead’ – the only song that gets past the 4 minute mark – takes us through heavy desert-rock and chirpy West Coast punk before fading out in a laughing, bluesy groove reminiscent, of all things, ‘Exile On Main Street’.

Most of this album sounds like what Americana was, before the music industry coined the term. Mazes might just master it in the way the Stones did before them. A fine British debut to say the least. JM