Adam Ostrar Featured on WXPN’s The Key Playlist

Adam Ostrar has been featured on WXPN’s The Key (a monthly music column) Spotify playlist for 2017! Here’s what they had to say about Adam’s latest album, Brawls in the Briar. The Spotify playlist can be found here and the full article is posted here:

11. Adam Ostrar – “Warlock”


Have we had enough with the weirdos?  This likeably low-key, apparently well-adjusted songwriter has been kicking around for quite some time – I first encountered (and wrote about) him over fifteen years ago, as the driving force behind the nifty Chicago-based indie outfit Manishevetz, and he’s had several other bands over the years – but the just-released Brawls in the Briars is his first solo project to see wide release.  In fact, it’s the first record ever credited Adam Ostrar: he’s always used his original surname, Busch, until changing it recently so as to avoid confusion with a different Adam Busch.  How mild-mannered and non-confrontational!  That may just be a coincidence, but the record does have a certain sense of freshness about it; like a hopeful new beginning.  It’s nothing revolutionary – just some sweetly tuneful indie folk with a few jazzy flourishes here and there – but Ostrar/Busch has a fine way with melody, and several numbers here – including this one, which gives the record its title – are more than liable to lodge in the old cranium.

Lung Letters Named Local Band You Should Listen To

Lung Letters were featured in volume 27 of Do512’s ‘Local Bands You Should Be Listening To’. Check out what they had to say below (article posted here originally):

Lung Letters


Taking members from local face-melters A Giant Dog and Flesh Lights, Lung Letters make vicious, raw punk rock that seeks to eradicate the genre’s limitations. On Passing Days, the band’s newest EP, Lung Letters blaze through three tracks of angular guitars, Biafra-inspired vibrato, thunderous percussion, and apocalyptic imagery. In this way, Lung Letters recall punk titans of the 1980s—the names Jack Grisham, Harley Flanagan, and the aforementioned Jello Biafra all come to mind. And the EP’s messy cacophony certainly reminds one of the industrial orgies found in Flipper and Scratch Acid songs, two bands namechecked on Lung Letters’ Bandcamp page. But Passing Days is not merely an exercise in nostalgia; the EP masterfully achieves a balance between messy cacophony and jagged punk rock melody, finding the equilibrium between noise and harmony.

“With a gritty and energetic attitude, Lung Letters proves that punk rock is still alive and thriving in Austin.” – Super Secret Records

When: Saturday, December 9th at The Lost Well & Saturday, January 19th at The North Door

World Premiere of New Little Mazarn Track at Tiny Mix Tapes

Banjoist Little Mazarn preps self-titled album, premieres centerpiece “My Love Is All Around You”

Banjoist Little Mazarn preps self-titled album, premieres centerpiece "My Love Is All Around You"

The Little Mazarn river in Arkansas looks like this:

Singer/songwriter/ethereal banjoist Lindsey Verrill borrows her musical name from this body of water, but she describes it in her press notes as an “unromantic river.” Maybe so — we’ve never been there, and Verrill’s music does sorta recall this spare, plain ol’ river bank-ness. But in her vocal ability and in her writing, the artist known as Little Mazarn brings her songs to a place that we suggest might surpass the unromantic qualities she sticks on this humble brook. Verrill’s music, for all its simplicity, makes the heart move, and if you’re in the mood to yearn, she’s got you covered.

Today, we are thrilled to premiere “My Love Is All Around You,” the centerpiece of Little Mazarn’s forthcoming new album. The release is self-titled and will be made available December 15 from Self Sabotage. Go and pre-order it here, and then listen to the love all around you here:

GIGsoup Reviews Adam Ostrar’s Brawls in the Briar

Lyrical Content75
Overall Impact70
Reader Rating0 Votes0
Ostrar mixes referential and autobiographical themes, confirming definitely that the most amazing feature of an author is how music, but also art in general, could be a personal way to cure and release ourselves

Songwriter and veteran band leader of the last twenty years Adam Busch alias Adam Ostrar has released his second solo alternative-folk record ‘Brawls In The Briar’.

The opening is with the melancholic ‘Enemy’. During all this piece, the bass guitar seems to predict that something is happening, that someone is coming and we can only wait for in a state of fluctuating suspension. Maybe, is it truly the enemy?

Closing eyes while listening to ‘Warlock’, it’s easy to go back until the vintage folk of 50’s-60’s American western movies, watching a cowboy with a white horse riding to discover the horizon and beyond (“And now you are riding into the great beyond”).

With ‘Cossacks in the Building’ the author deals with political matters straight lived by his family: “I remember my grandfather telling me who the Cossacks were and what a pogrom was. I know there was a pogrom history on his side of the family, and his parents and aunts and uncle ultimately immigrated to the U.S. in the early 1900s because of persecution.” ( The reference is about the Russian meddling in U.S. elections and of course, you if you’re from a family that has already felt the heavy hand of Russian authoritarianism and racist scapegoating, this is doubtless a little more creepier for you.

On, Ostrar also talks about the recording: “Point being, there aren’t any distractions. We recorded it live, all in the same room. I guess I made a record the way lots of people have made records, but it was a first for me. I’m used to piecemeal recordings and piecemeal recording budgets.” And also: “I wrote the bulk of the songs in 2016, which was collectively an awful year for obvious reasons. I was also experiencing cognitive dissonance unrelated to the election, personal stuff. All of it worked itself into the material. I suppose the backdrop of 2016 is the briar. The songs are the brawls.”

Ostrar mixes referential and autobiographical themes, confirming definitely that the most amazing feature of an author is how music, but also art in general, could be a personal way to cure and release ourselves.

This album feels like a secret album that people make, in some way, as their own.

‘Brawls In The Briar’ is out now via Super-Secret Records

Adam Ostrar

New Lung Letters EP Review

Lung Letters-Passing Days EP (2017)

Country: USA
Genre: Punk, Noise Rock
Label: Self-Released
Tracks: 3
Length: 9.20′

Lung Letters are a four piece band from Austin, Texas who formed in early 2017, from the looks of things.  Lung Letters feature members of Total Abuse, Nazi Gold, and Flesh Lights, so going on that alone, you know you’re in for some really awesome music.  Lung Letters play a killer style of Flipper/Scratch Acid influenced punk and noise rock.  Passing Days is the band’s debut EP, which was released on March 18th, 2017.  On Passing Days, Lung Letters offer up three tracks of off-kilter and weird sounding punk and noise rock. Overall, Passing Days makes for a killer listen and definitely should not be missed.  Highly recommended!  Enjoy!

Lung Letters on Bandcamp
Listen Here

‘bodiezNc0de’ Featured on Nooga’s October Tape Deck List

The Tape Deck: October 2017

More Eaze, Ziggurat, Asymmetrical Head and SLEEPiES.

In The Tape Deck this month, spends time with new cassettes from More Eaze, Ziggurat, Asymmetrical Head and SLEEPiES.

More Eaze“BodiezNc0de”
More Eaze is the moniker through which Marcus Maurice (AKA Marcus Rubio) crafts perfect pieces of abstract electronics filled with undulating rhythms and looping melodies. In his past work, he’s often hid these catchy bits of tone and texture under a host of frayed effects, but if you listen closely, their spiraling musical threads are eventually revealed. Mixing both acoustic and wired patterns, he distills his influences down to their bare melodic elements before reassembling them in a fashion that proves their ecstatic utility. He skips around through genres, laying out a complex and interconnected web of sounds and emotions that can’t easily be traced back to any specific aesthetic.

On his latest cassette, “BodiezNc0de,” he approaches his past from a pop-oriented perspective. Make no mistake, however, these are still wildly inventive songs that buck any idea of traditional structure. The production is as meticulous as always, even when the sounds seem to be warring with one another. But this collection feels far more song-centric than his prior releases, which always felt more impressionistic than purposely regimented. We’re still privy to the weirdness from time to time, but in general, he opts for a more ordered euphoria. Warm string melodies play against the spokes of his electronic tendencies as each song unfurls into a series of complicated examinations on political differences, conceptual ideas of the body and the persistence of physical form.