Doesn’t time fly? It was 2008 when I last laid hands on a Mustasch album, the compilation ‘Lowlife Highlights’, and since then they’ve fired out two new albums, one LP re-recording old tracks, a bunch of singles and EPs, as well as travelling thousands of miles on the road. With the sad combination of too many bands to listen to, and too little time to do it in, it is with the release of 2014’s ‘Thank You For The Demon’ that I am only now touching base with front man and founder Ralf Gyllenhammar’s band, an act named after his eponymous and luxurious facial appendage. So, what does this 7th original studio provide?
First and foremost, this is Swedish hard rock, nothing extreme, and not a whiff of corpse paint anywhere to be gagged over. If you are put off by that description, read no further; if, however, the likes of Audrey Horne or Volbeat get a play in your household, continue. ‘Feared and Hated’ opens the album with clean rocking vocals, a chugging rhythm section, and a nice twin guitar break redolent of Thin Lizzy. Title track ‘Thank You For The Demon’ follows on, with hints of a certain Dave Wyndorf in the vocal delivery, as well as some classical music orchestration to complement the riffage.
Track after track is excellently crafted hard rock, nothing too scary to chase away those for whom the combination of the words “Heavy” and “Metal” is a reason to go screaming to the hills, and without a doubt the aforementioned Mr Gyllenhammar is a fine vocalist. ‘From Euphoria To Dystopia’ with its hook laden guitar work is followed by the more stripped back, stonerish, early Sabbathesque riffs of ‘The Mauler’, a track that is interwoven with a certain ‘Kashmir’ tinged drum beat and strings.
The one track that jars, and in my personal opinion feels like a self aimed shot to the foot, is ‘I Hate To Dance’, a song that sounds like Prong cum Danzig set to a disco beat, a supposed heavy metal rallying number that despite it’s clarion call of “bang your head as I hate all dance”, sadly makes me as a metal fan wince. I’ve no idea if the track was played by the undoubtedly able musicians of the band, but it sounded like it was all samples drum machines. Thank heavens for the closing high point of ‘Don’t Want To Be Who I Am’, the initial simple acoustic guitar work merging with some complex strings, all set over a compelling drum beat.
The whole album is laden with hooks, and dare I say it on this site, almost pop like song structures; don’t look for or expect a challenging or dark sound from your stereo, and you won’t be disappointed.
(7/10 Spenny)
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