|
Tangentially minded local singer-songwriter Brent Adair follows up 2004's Pieces with a homespun album of faraway themes. Streaming reflective, bare-bones folk-pop alongside lyrics that prefer the scenic route, Ostrich may be an acquired taste, but it's one of iconoclastic distinction. Adair and handyman producer Billy Harvey set the mood right up front with "Time Away," a wit-soaked spin on the old-fashioned sabbatical. Insomniacs everywhere will relate to "If I Could Sleep," a mundane laundry list of creature comforts that comes up painfully short in comparison to an elusive good night's shut-eye. "Untied" is an unflinchingly melancholic portrait of a relationship in disintegration mode, while "Inside Me" marvels in joy and befuddlement at how love can rearrange your insides. After all that, closing instrumental "White Fingers" adds a slightly elegiac Gary Numan synth bed to Death Cab contemplation. If there's ever a sequel to Garden State, this might be a good place to start the soundtrack.
The Austin Chronicle
In a city where talent runs like tap water, and a singer-songwriter can be found at every street corner, coffee shop, and hipster’s sofa, it’s hard to stand out. With Ostrich, Austin musician Brent Adair not only stands out, but shines. Adair’s second release is full of lush imagery, depicting life and love, restlessness and renewal, travel and settling down. Producer Billy Harvey (Bob Schneider, Steve Poltz, Kacy Crowley) adds a playfulness that nicely complements Adair’s sensitive lyrics and melodies. Tapping into modern influences like Death Cab, Bright Eyes, and M. Ward, Adair’s songs are accessible and familiar, yet distinctive and fresh. From the bouncy ballad “Time Away” to the quirky, funny “If I Could Sleep,” Adair demonstrates a breadth of musical and lyrical versatility. “Superman” blends a touch of punk with rollicking country, and a chorus reminiscent of early Eagles, America, or Ryan Adams circa Gold. The haunting keyboards on “Arctic” accompany lyrics that are poignant and honest (“You came crashing in, and poured right out of me”), yet not overly sentimental. A simple, acoustic arrangement delivers the inquisitive ache of “Inside Me.” And, like the note on the table in “Untied,” Adair has a knack for words “eloquent, balanced, and sweet.” The CD closes with the instrumental “White Fingers,” offering a chance to reflect, make sense of it all, and write your own ending. Ostrich, with its focused and crisp arrangement, represents significant growth from Adair’s first effort Pieces (2004), and firmly establishes him in Austin’s exceptionally prolific pool of talent.
Texas Music Magazine
|
