Maid Myriad “is the true definition of a ‘power trio’. [...] Both lyrically and musically, this album is absolutely fantastic!” – Designed by Inspiration
“As a preface to their soon-to-be-released debut album, Camera Eye is catchy, geometrically ambitious, and accessible to a comfortable point. Soulful at times, hard rockin’ at others; Maid Myriad has left me wanting to hear more from them. Yep, this EP is just too darn short. I hope the debut album has this same level of quality.” – PowerOfMetal.dk
“As a preview of its upcoming debut album, With Haste on Its Breath, due out this fall on the Nefarious Industries label and mixed by Jim Wirt (Incubus, Fiona Apple), Maid Myriad has released a free, self-produced, three-song EP called Camera Eye.
The self-described “kaleidoscope rock band’s” songs written by Klemm have a heavy indie prog-rock influence of rhythmically complex bands such as the Mars Volta and Fugazi with a dash of emo-style vocals minus that genre’s clean/dirty vocal mash-up and penchant for sounding whiny and self-absorbed.
The accusatory “Camera Eye” opens the EP with dramatic arpeggiated chords leading to a stomping chorus and a cool Mars-Volta-esque middle section as Klemm’s long melody reaches into the rafters of his high tenor range:
Capturing the truth,
The Camera Eye is onto you,
All of your lies will shine through,
The Camera Eye is onto you.
The lyrically obtuse “Azure Planes” rides a nearly funky but off-metered groove. Klemm doesn’t bother with traditional guitar solos but his angular, multi-layered licks and harmonies (there are no keyboards on the EP) should induce plenty of air-guitar theatrics from listeners.
The EP closes with “Chardonnay”, an uptempo tune marked by a toe-tapping groove, some fancy jazz-inflected chord changes and another cool mid-song prog-rockin’ polyrhythmic breakdown.
Klemm and Meisenberg are clearly talented musicians, but as fans of their style of music know, a boring or average rock drummer can drag the entire enterprise down. Meisenberg does more than hold down the beat, playing like a spider-armed Animal (you know, from the Muppets), bashing the hell out of his cymbals and matching Klemm’s start-stop rhythmic twists and turns with machine-gun fills and consistently pushing groove, making him the EP’s less sung hero.” – Malcolm X Abram, Akron Beacon Journal