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MY EARLY MUSTANG ‘My Early Mustang’ (Nuclear Blast) (2004)
I am pretty sure that most of the people who either know me in person or read my reviews will be quite shocked by my impression of My Early Mustang’s debut album. In my own defence, I consider myself to be a quite open-minded person, always ready to welcome new musical propositions and ideas with the purpose of improving the level and the quality of Rock/Metal music. When I have to come face to face with a band whose music sounds like the soundtrack from the TV series "Dawson’s Creek" though, things are slightly different.
My Early Mustang was formed during somewhere between the first two months of 2003. Two of the four musicians, which are involved in this project, are Tim Eiermann (guitars/vocals) and Wolfgang Maier (drums), both from "Liquido" – a band that has scored a big hit with a song called "Narcotic" back in 1999.
The other two musicians that complete the band’s line up are Andreas Rigo (bass) from a German Punk Rock (oh, my god) band called Tristesse, and vocalist Florian Kammerlin, who was also the frontman of a band called Flyswater. These musicians have somehow managed to get a deal with Nuclear Blast (don’t ask me how, I really don’t know) and have quite recently released their debut album that’s simply called " My Early Mustang".
After listening to "December", the first song of the album, I realised in horror that My Early Mustang belong in the same category as other really annoying bands like Busted and Simple Plan. What does that really mean? Well, what it means is that this album contains huge doses of Punk-influenced guitar riffs with a Rock n’Roll attitude. If they had some common sense, they would try to sound more like The Ramones for instance (no such luck).
It is really obvious though that this German quartet is trying to break through to the young American Rock (??!!??) market, where both the previously mentioned bands are doing exceptionally well.
As for the songs of the album: There isn’t a single thing in this album that has not been presented before, one way or another. The guitar themes are annoyingly predictable, and so is Tim Eiermann’s voice. I have to admit that there were a couple of moments, where you could trace some slide influences from Van Halen and White Lion, but they are well dead and buried. Where? Under piles of commercial crap rhythms that can only bring excitement to teenage girls and guys who would do almost anything in order to get laid.
The question here is not whether this is a good album or not - that is for you to decide. What I’m really interested to find out is whether this band is going to be still "alive" after a couple of years - well, I sincerely doubt that.
Review by John Stefanis
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