JUST MUSTARD @ Gigonometry


With this Dundalk band the old adage of saving the best ‘til last was certainly appropriate. Throughout their set they showed a positive sense of alternative and leftfield workings that allowed the music do the talking for them. The way their opening track ‘Tainted’ lingers on the melancholic captures a lot of the right components for a brilliant number. It is stirred by the buoyant electronic touches in the sound as they give it an able saunter. The shoegaze tidings come in off the back of this and the overall vibe given off is one of an art school band, but in an old school sense. The expansive expression is volumised by how the scope of the arrangement is built. Again ‘Feeded’ proves itself in the progressive sense and is deepened by the numb calling. With the chop off the tempo the deliberation added travels well with the sound. This gives it a traipsed cut and you sharply hear it with the higher yield of the dynamics and the added maturity.

‘Deaf’ finds a delightful touch in the bass riff. When the shared vocals are added in there is a lot on show. This is an interesting effort from start to finish (a lot like their set in all fairness) with an enormous leftfield calling that allows you see the artistry in a way that warrants appreciation. They again collect everything squarely with a broader sense of definition feeding into how it play from the off. The sound has a spacious trapping which balances the texture on show. This deliberates in a sombre sense and the tone mirrors a Portishead meeting with Robert Wyatt’s ‘Shipbuilding’. This opaque quality adds to the intrigue and shows them to be a band very much with their shit together.

While their next track may be untitled it is a very astute affair. With the slowed down vocal delivery it comes across as if Estelle’s ‘American Boy’ has been slowed down to a crawl. It really works and the high pitch draws you in. It is incredibly lavish and the minimalism in the touch captures the essence of a stray number with everything going for it. A segue of guitar is notable on the pitching of ‘Pictures’. It accommodates the vacancy of the lyrics and is again championed by the vocals. The collective way the playing comes together tidies all of this away in its own right. Here is something in its own right. We viewed 2016 as the year the music died and 2017 as the year it stays alive…well with their closing tune ‘Paper’ they underline that assessment. This is incredibly catchy but they merge something with it that is distinctly brave and bold. Not only has it a mainstream flair that is favourably cat but the erratic midway section gives it a real ‘Fuck Me’ moment when you hear it. How it resonates live sounds like the bastard child of the LA underground but instead it is born and bred in the hands of a Dundalk band. For that they certainly deserve to be a band that should be on everyone’s radar. The punk and progressive elements alone are just incredibly rich. The undiluted way they are worked here delivers a tantamount statement of real intent fixed in the form of just one song.

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