Swordfish Blog Review of Debut Little Mazarn Album

Review: Little Mazarn – S/T

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Little Mazarn Album Cover

I’ve always considered Curtis Eller to be the prototypical underground banjo player. He crafts song-stories about history (or more appropriately, history through a warped contemporary lens) with an Americana flare and P.J. Barnum hucksterism; his banjo, as vibrant as a ringing electric guitar, drives the compositions front and center. Little Mazarn, whose self-titled outing will be released next week via Self-Sabotage Records, plants itself firmly on the other side of the spectrum, making filmy ballads that place spare, reverb-drenched banjo measures alongside Lindsey Verrill’s tender, longing voice. In other words: this is slowcore, even dreadcore, folk that sounds, at times, like it was recorded at a slower speed than you’re used to hearing a banjo.

Verrill, for sure, does some amazing things on the too-short debut. The opening “In Dreams,” where Verrill’s ghostly banjo measures are accented by what sounds like a musical saw, echoes Black Heart Procession but is somehow more resolute, less dirge-ish, more adept at creating drama without the drama.

The murder ballad “Rain and Snow” is haunted, ephemeral .“White Fang” is devastatingly fragile to a fault. Even when Verrill tips her hat at lusher moments – the reach-for-the-clouds voices on “Love Is All Around You” are carefully multi-tracked during the chorus – the landscape still is pretty barren. (I mean that lovingly.) This is the music Sam Beam or Damien Jurado make when they’re sad-drunk and alone.

What you think of Little Mazarn will depend, largely, on how you view loneliness. From the banjo echoing, a bell unanswered, to the plaintive singing or the spare accompaniment here and there, the record is assuredly a solitary affair. Instead of referencing Eller, consider fellow antique-gardist Robin Aigner at her most melancholy: strip her bare, remove a layer of skin so every emotion seeps more quickly into your system, and you’ll get an idea of Verrill’s M.O.

All in all, a fine outing.

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Big Takeover Magazine Premiere New Little Mazarn Track

Song Premiere: “White Fang” by Little Mazarn

Little Mazarn

27 November 2017

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Little Mazarn; Photo Credit: Stephen Pruitt

Little Mazarn, the stage name for Lindsey Verrill, gets her name from what she calls “an unromantic river” in Arkansas. Playing banjo on three original songs, a traditional murder ballad (“Rain And Snow”), and an English sea song, Little Mazarn, in her lilting warble, sings “about precious things, boring things, nature and the garbage that is humanity” (her words) on her upcoming self-titled album. A dreamy pop that would have fit in nicely with the slowcore of the late ’90s and early ’00s, the LP also has unmistakable connections to older forms and genres like country, gospel, and Appalachian folk.

Verrill is joined on the album by live accompanist Jeff Johnston on saw, vocals, and harmonium, as well as several guests contributing strings and vocals throughout. The LP was recorded and mixed by David Boyle at ChurchHouse Studios in east Austin.

Little Mazarn will be available on LP and download on December 15th via Self Sabotage Records, a division of Super Secret Records. Pre-orders are available HERE

Verrill releases a single from the album, the hauntingly and bare “White Fang” that hangs on her dulcet, drawn out vocals.

LITTLE MAZARN LIVE:
11/29 Austin, TX at ATX6 Finale at The Stateside
12/15 Austin, TX at Central Presbyterian Church – Album release show

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Self Sabotage Records

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”

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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

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PHOTO CREDIT: FACEBOOK

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:

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