GIGsoup Reviews Adam Ostrar’s Brawls in the Briar

Originality80
Lyrical Content75
Longevity70
Overall Impact70
Reader Rating0 Votes0
74
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.” (Supersecretrecords.com). 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 Supersecretrecords.com, 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)

 Posted by Chris Morris     on October 31, 2017

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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

By  – Published on October 26, 2017

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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.

Austin Chronicle Reviews ‘Hong Kong Cab’

Ingebrigt Håker Flaten’s Time Machine

Hong Kong Cab (Self Sabotage)

REVIEWED BY MICHAEL TOLAND, FRI., OCT. 27, 2017

Texas Platters

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***.5

Artwork for Austin Jukebox #9 Revealed

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Austin Jukebox 9 Poster

C-Ville Weekly Reviews Brawls in the Briar

Album reviews: Adam Ostrar, Jamila Woods, Gun Outfit and Soundspecies & Ache Meyi

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Album reviews: Adam Ostrar, Jamila Woods, Gun Outfit and Soundspecies & Ache Meyi
10/19/17 at 9:40 AM

Adam Ostrar

Brawls in the Briar (Super Secret)

Adam Ostrar, né Busch, former Charlottesville resident and WTJU DJ, was also a main mover behind Curious Digit, Manishevitz and SONOI. On Brawls in the Briar, Ostrar is joined by members of Califone and White Rabbits, and combines characteristics of all those bands. The tracks gently stir, rooted in acoustic guitar and Ostrar’s genial croon, adorned with countless touches—early-Floyd organ, triangle, borderline Frippertronics guitar, etc. Ostrar issues plenty of enigmatic lines, but also achieves emotional liftoff, as on the coda of “Another Room”: “The day is ending / the sun is setting in the spoon / I don’t want another room / I want yours, dear.” Understated and beguiling, Brawls in the Briar feels like a secret album that people share and bond over. Ostrar returns to Charlottesville, appearing at Low Records on October 23.