Gustaf ‘Audio Drag for Ego Slobs’ (ALBUM REVIEW)

Brooklyn based quintet Gustaf seem to have been forged in the true Big Apple image, a quintessential variant of the city’s famed experimental punk-funk signature sound. Co-fronted by Lydia Gammill and Tarra Thiessen, the pair teamed up three years ago following a road trip to SXSW, Theissen’s initial tour plans evaporating with the natural plan B seemingly starting afresh themselves.

Fast forwarda couple of years, a ton of live gigs, the resultant cult following got the old fashioned way, picking up a number of friends in high places; sort of makes a nice change.

The difference between those making it versus those that don’t has normally been when transferring the shoulder dropping raw energy of live shows and moulding and polishing it into a body of recorded material that puts its head above the parapet better than the rest, reaching the ears of would be listeners and striking a chord in a very different way and in a very different place to the live venue. Released on ‘Royal Mountain Records’ Gustaf have seemingly gone some way to achieving that in their debut release ‘Audio Drag for Ego Slobs’ despite its title perhaps trying a little too hard to seem above it all.

The ten short sharp shocks here are testament to the less is more school of thought, only thirteen words making up all the song titles. Treating ‘em mean and keeping ‘em keen, the quintet turn to the rich seam of NYC Block Party underground including the sexual ambiguity of Patti Smith, the sparse mad-professor funk of Talking Heads. You can even detect elements of Broadway culture in the material’s confrontational nature, without forgetting or of course the pop sensibility that made Blondie such a massively popular band.

Opener ‘Mine’ is taut, infectious and frankly really fucking pissed off, setting the tone for angular guitars, acrobatic bass and slacker vocals, the band considering harmonies before deciding they couldn’t be fucking bothered. Lead off single ‘Motions’ oozes super-cool aloofness that would make Debbie Harry proud whereas ‘Dog’ explores the complicated emotions surrounding exes and their pets. Closer ‘Happy’ is a wearily passive-aggressive ode to love and loss, perhaps signposting a future direction of travel.

Words - Mike Price

Gustaf official