Hart has a thing for honesty and convictions. He’s just not used to talking about it. As the drummer of insanely popular folk-rock band Boy & Bear, the majority of Hart’s musical life is spent behind the drum kit – touring the world, singing back-up vocals, and contributing songwriting to the award-winning Sydney group’s beloved songs and spirit. This high-profile existence pushed Hart to make his 2012 debut album, Milling the Wind, a bare bones folk record. “Something that wasn’t so meticulous and thought out,” he says now. But for his second album, The Narrow Corner, concept was shunted aside for life experience. Written largely on the road and recorded between touring with Boy & Bear, The Narrow Corner hinges on themes of loss, disconnection, and how travel alters perspective, for better and worse. It also introduces Hart as a skilled and plain-spoken curator of his own interior universe.
The Narrow Corner, a dynamic record that recalls the skeletal folk of Elliott Smith and Simon & Garfunkel, as well as the lush, widescreen pop of Crowded House and Augie March.
Playing the majority of instruments himself, The Narrow Corner reunites Hart with Milling the Wind-producer Mark Myers (Emma Louise, The Middle East, Timberwolfe), as well as Sydney producer Wayne Connolly (You Am I, Knievel, Cloud Control), responsible for Boy & Bear’s Harlequin Dream.
