Mustasch - Mustasch review

My first impression of this album, and the one that will continue throughout is, that there is a definite 90’s feel to it, which is in no way, a criticism. It blends a lot of the stylings and songwriting of that decade’s top bands (within this genre and in my opinion) into one nice package, without sounding dated or contrived. As much as I hate to constantly compare each song to other bands, it is, perhaps, the best way to explain how they sound if, like me, you are previously unfamiliar with Mustasch. You can easily pick out influences ranging from the obvious, such as Turbonegro, Grand Magus, Therapy?, Clutch And Monster Magnet through to the more subtle Sepultura, Anthrax, Rage (German band), Candlemass, Danzig, and even the more 80’s influences of bands such as The Cult, Iron Maiden and Metallica (with many more along the way). Even though the influences come thick and fast and from all angles, the underlying sound here is, to my ears, very much Swedish...with it’s catchy radio-friendly hooks, old-school worship and a superb, stylish mix of doom/stoner/punk/metal.

It would, however, be unfair, not to mention, a bit redundant, to judge the the band on their influences alone (all bands have them after all), especially when the end result is this good. Yes, they wear their influences proudly on their sleeves (and possibly, T-shirts), but they are certainly more than merely the sum of their parts. I don’t know how this great band has managed to fly under my radar for so many years, but better late than never, I suppose. I can safely say that I am well and truly converted to the Mustasch cause.

I will now give a quick breakdown of each song, but I won’t go into too much detail as I have tried to give as much information as I can in the first paragraph.

Heresy Blasphemy

The first proper track, following the obligatory instrumental intro(prelude), comes in with some heavy riffage, and some Cult/Danzig-esque vocals. A good, dark start to what will be an interesting, and rewarding album.

Mine

A rocking little romper of a track with more of the Danzig/Cult influence, but with some almost Sebastian Bach style vocals, crunching “Roots” –era Sepultura riffery (is this a word?), and some melodic guitars more in the realm of Iron Maiden.

Damn It’s Dark

Very reminiscent of Semi-Detached/High Anxiety era Therapy?, both lyrically and in vocal delivery. The guitars, again, bring to mind Therapy? but, also their peers, The Wildhearts. This is a great, annoyingly catchy song, and for me, is definitely the stand-out track on the album...and as it has been chosen as the promotional song, for cover-mounted CD’s and TV appearances, obviously the band/label, think so too.

The Man The Myth The Wreck

Although this comes in with a heavy riff, and again, has a real Therapy? (and Grand Magus) sound, it also has some NWOBHM undertones, and combines this nicely with the sludgy/stoner/doom riffing and the vocal style of fellow Swedes, Grand Magus. At around the 1:45 mark, a slow, heavy, breakdown comes in (in a style similar to Machine Head), and leads nicely to the final part of the song with it’s almost early 80’s Maiden bass sound. Another solid track, and again, one of the best on here.

The Audience Is Listening

Yet gain, we are back into Therapy? (do you sense a theme here?) territory, with hints of The Almighty (at least vocally), a nice Monster Magnet guitar sound, and with an almost Fu Manchu head nodding riff. Maybe it’s just me, but I also get more than a slight whiff of the more (radio) punk edge of The Stooges and The Hives throughout too.

Desolate

At first, this really makes me think of Anthrax/Metallica with it’s slow, brooding tempo and somewhat menacing tone. The band, however, throw a serious curveball at you during the final third of the song, but I won’t ruin it here. I will say, though, that there was no way I would have predicted it. A nice surprise to brighten up, what is otherwise, an unremarkable song. It definitely takes the song up a notch, from mid-paced filler, to a far more intriguing prospect. Nice move, guys.

Deep in The Woods

As much as I hate to keep comparing each song to another band, the guitar intro to this song could be off any W.A.S.P. album, but then we head into a nice mid-paced rocker, reminiscent of German metal masters, Rage. Not a bad song, but at the same time, a little unremarkable.

I’m Frustrated

It had to happen. Yes, you guessed it (didn’t you?)...The Ballad. Well, they are Swedes after all (haha). This is a pretty standard radio rock ballad, in the vein of almost any of the eyeliner-wearing, acoustic guitar toting, rock star wannabe hordes, and even comes complete with ´symphonic´ strings near the end (which is never good). What saves it from being completely terrible, though, are the (slightly) country style acoustic guitars, even if they are a little Bon Jovi/Poison. In fairness, however, I actually don’t hate this song as much as I probably should.

Lonely

With this track, we are, thankfully, back into more rocking territory, and not for the first time, I feel the ghost of “Brit Rock” looming over the proceedings. It also has a distinctly Hardcore Superstar/ Backyard Babies feel. To be brutal, though, this is another fairly average track.

Blackout Blues

Another nice little rocker which brings to mind early 90’s Anthrax/Skid Row. That might sound like an odd combination, but if you are familiar with Skid Row’s “Subhuman Race”, then I think you’ll understand what I mean...and if not, why not?!

Tritonus

This leads in with an orchestral intro (why do I get images of the Pink Panther cartoon?), before kicking in with a nice booming Sabbath/Candlemass (same thing?) riff....but, just when you think you have the song pegged, we get an almost Cradle Of Filth style passage with a nice voice-over and some chilled, Sabbath/Maiden acoustic guitars. This is the most unexpected song on the album, and is a fitting climax with it’s unexpected lurches between slow passages and doom riffing. Nice.

So, after listening to this 3 or 4 times now, and therefore, having digested it fully, I can safely say that this will be getting a lot of repeat visits from me. The only real negative I could mention, is that it really seems to lose momentum as the album progresses. Imagine this, if you will, as a vinyl. Side A would be the one you would be likely to play more often. Despite this little stumble, it is still, like Nifelvind, going to feature highly on my year-end round-up. I hope this review was helpful, and might inspire some of you to pick up a copy or (at the very least) to check them out on YouTube.

Score: 8/10