Gustaf – ‘Package Pt. 2’ album review: an existential crisis encapsulated in DIY post-punk
THE SKINNY: It has been three long years since we last heard from Brooklyn post-punk masters Gustaf, but thankfully, those years have certainly not been wasted. The dreaded sophomore album is a tricky thing to pull off, but Lydia Gammill and company seem to have pulled it off effortlessly with Package Pt. 2, which captures the energy of their early work while adding new, complex layers to the signature Gustaf sound.
At this point in time, the musical landscape of ‘post-punk’ is so ridiculously saturated that bands really need to stand out to be at all worth listening to – especially within the musical haven of New York. From the number of groups being produced by the Big Apple, it seems as though you could waltz into any independent coffee shop in Brooklyn and form a BBC 6 Music-backed band in mere minutes. Somehow, though, Gustaf do not feel comparable to their NYC contemporaries. Their sound is both familiar and yet outlandish, even unsettling – like seeing brands you recognise in foreign supermarkets while on holiday. Across the record, they embrace countless influences, ranging from ESG to Lydia Lunch; they are an outfit that is firmly entrenched in the cultural history of New York but not trapped by it.
The band’s first record, 2021’s Audio Drag for Ego Slobs, was an adrenaline-fuelled, blink-and-you’ll-miss-it exploration in minimal punk. As fantastic as that record was, there was certainly a worry, coming into Package Pt. 2, that it would simply be a rehashing of their earlier work. While there are undeniable parallels between the two records, they are their own distinct entities, with the new album feeling like a natural progression for the band. Don’t worry. The buzzsaw guitars and old-school punk delivery are still present in songs like ‘Hard Hair,’ but there is also a sense of vulnerability, existential dread, and inner-conflict captured within the album. The fact that Gustaf are able to so successfully master a wide range of themes and emotions within such a short amount of time is a testament to their songwriting brilliance.
In contrast to the rough-and-ready qualities of some of their previous efforts, Package Pt. 2 feels enjoyably polished and mature, though it does not lose that endearing DIY quality. Of course, a lot of that is probably due to the production of Erin Tonkon, who really earns her stripes on this album; the production is flawless. On a surface level, the pieces on this album feature disparate atmospheres, themes and emotions, yet Gustaf and Tonkon have managed to mangle the tracklisting into something that flows very well as an album rather than a disjointed collection of songs.
For fans of: Going to a gig on a weekday, standing in the corner in a thrifted trenchcoat and pretending to be cool and mysterious.
A concluding comment from the ghost of the CBGB club: “I only wish our doors were still open to foster emerging New York talent like this. On the other hand, the rent would be sky-high, and it would be full of insufferable Brooklyn hipsters… nevermind.”
Package Pt. 2 track-by-track:
Release Date: April 2nd | Producer: Erin Tonkon | Label: Royal Mountain Records
‘Statue’: A fitting start to the album, setting up the following 12 tracks with its brooding atmosphere and rising intensity. [4/5]
‘Close’: The bass riff supplied by Tine Hill is clearly the star of the show on this track, so much so that it can be difficult to focus on the lyrics – but if you can manage it, then those lyrics are pretty great too. [4/5]
‘What Does It Mean’: In contrast to the previous piece, this one places a heavier emphasis on vocals, with the instrumental song embracing more mellow stylings. It is an enjoyable effort but leans towards being somewhat forgettable within the context of the whole track listing. [3/5]
‘Starting and Staring’: The duet between Lydia and synth tones here is fantastic, and thank god those incredible basslines have returned to the forefront. [3.5/5]
‘I Won’: This feels like the deformed love child of ESG and the game-show skits from De La Soul’s 3 Feet High and Rising (in a good way). [3.5/5]
‘Weighing Me Down’: The energetic art punk that we have, by now, come to associate with Gustaf. This is perhaps the closest they get to the sound of their first record, which is certainly not a bad thing. [4/5]
‘Here Hair’: Undoubtedly the stand-out track from across the album, this song fully embraces the uneasy qualities of the no wave scene. Awash with existentialism and, at points, heartbreaking vocals, the piece is totally different to anything Gustaf have created before, but it might be their greatest individual effort yet. [5/5]
‘Hard Hair’: Not wishing to leave the audience to stew in existentialism for too long, Gustaf treats you to some out-and-out punk rock. Viewed in isolation, this is a great track, though it is at risk of being overshadowed by its predecessor. [4/5]
‘Produce’: This has an infectious quality and, speaking from experience, will stick in your head throughout the day. Thankfully, therefore, it’s a very enjoyable effort, helped along by the distorted call-and-response vocals and the irresistible guitar riff. [3.5/5]
‘Happiest Thought’: Most bands would begin to wane at this point in the tracklisting, but this song is perhaps one of the greatest from across the album. The percussion is particularly good, though the self-reflective quality of the lyrics takes the spotlight. [4.5/5]
‘Ground’: The instrumentation on this song almost sounds like a slowed-down version of ‘Book’ from the band’s first album. Presumably, this one would sound particularly good in a live setting. [3/5]
‘End of the Year’: Splitting from the energy of the opening track, Gustaf sees fit to finish the record with a beautiful, emotional effort which leaves the audience devastated. No, Gustaf, I am not alright. [5/5]
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