Album Review: Coweta Android by Elliott The Letter Ostrich
Released in 2002, Coweta Android by Elliott The Letter Ostrich is a curious little gem that straddles the line between indie rock grit and pop sensibility. Hailing from the US and released under the Not On Label imprint, this album feels like a DIY labor of love—raw, unpolished, and brimming with personality. With Jhohn Arlie pulling double (or rather, quintuple) duty on vocals, guitars, keys, drum machines, and songwriting, it’s clear this project was driven by vision rather than resources. Airon Wessinger adds depth with bass and drums, completing the stripped-down yet surprisingly layered sound.
The album leans into an indie rock style, but its roots in both pop and rock give it a versatility that keeps listeners engaged. Tracks like “Hasslehoff 3010” and “When I Was A Barn Owl” stand out for their quirky charm and emotional weight. Listening to “Hasslehoff 3010,” you can’t help but notice how the electric guitar riffs spiral unpredictably while Arlie’s lead vocals carry a sense of urgency. It’s catchy without being saccharine, clever without trying too hard—a tune that sticks because it feels honest. Meanwhile, “When I Was A Barn Owl” hits differently; its acoustic foundation paired with introspective lyrics creates a hauntingly reflective mood. You remember it not just because of its melody but because it feels like overhearing someone’s private thoughts.
Other tracks such as “Bear Of Progress” and “Gargles The Holy Spirit” bring variety to the mix, though they don’t leave quite the same impression. Still, there’s something admirable about the ambition here. For an album made outside the mainstream system, Coweta Android punches above its weight class.
What makes this record linger isn’t necessarily perfection—it’s the humanity baked into every note. There are moments where the drum machine falters slightly, or the mixing could’ve been tighter, but these imperfections only add character. It’s like finding a handwritten letter in a world full of emails.
Oddly enough, after listening to Coweta Android, one might wonder if Hasselhoff himself ever heard “Hasslehoff 3010.” If he did, what would he think? Would he laugh? Cry? Or maybe even write back? Whatever the case, Elliott The Letter Ostrich crafted something worth revisiting—a snapshot of early 2000s indie creativity that feels refreshingly untamed.
