K. Freund
Trash Can Lamb
Boomkat Product Review:
Trouble Books' Keith Freund gets up close and personal on 'Trash Can Lamb', playing homespun sax and piano phrases over DIY electronic sputters and hiccuping, downsampled loops.
There's something undeniably satisfying about Freund's music; the Akron-based multi-instrumentalist has been recording and collaborating for almost two decades, and his solo output is casual and intimate. It's like hearing someone rehearsing in their bedroom studio, playing to their own internal rhythm and disrupting the session with shonky hand-made gadgets. There's nothing overly complicated going on, but Freund never lets the music unfurl without interference, whether it's from bitcrushed samples, unstable synths or swirling delays.
"For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs.
Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust."
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Boomkat Product Review:
Trouble Books' Keith Freund gets up close and personal on 'Trash Can Lamb', playing homespun sax and piano phrases over DIY electronic sputters and hiccuping, downsampled loops.
There's something undeniably satisfying about Freund's music; the Akron-based multi-instrumentalist has been recording and collaborating for almost two decades, and his solo output is casual and intimate. It's like hearing someone rehearsing in their bedroom studio, playing to their own internal rhythm and disrupting the session with shonky hand-made gadgets. There's nothing overly complicated going on, but Freund never lets the music unfurl without interference, whether it's from bitcrushed samples, unstable synths or swirling delays.
"For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs.
Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust."
Boomkat Product Review:
Trouble Books' Keith Freund gets up close and personal on 'Trash Can Lamb', playing homespun sax and piano phrases over DIY electronic sputters and hiccuping, downsampled loops.
There's something undeniably satisfying about Freund's music; the Akron-based multi-instrumentalist has been recording and collaborating for almost two decades, and his solo output is casual and intimate. It's like hearing someone rehearsing in their bedroom studio, playing to their own internal rhythm and disrupting the session with shonky hand-made gadgets. There's nothing overly complicated going on, but Freund never lets the music unfurl without interference, whether it's from bitcrushed samples, unstable synths or swirling delays.
"For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs.
Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust."
Boomkat Product Review:
Trouble Books' Keith Freund gets up close and personal on 'Trash Can Lamb', playing homespun sax and piano phrases over DIY electronic sputters and hiccuping, downsampled loops.
There's something undeniably satisfying about Freund's music; the Akron-based multi-instrumentalist has been recording and collaborating for almost two decades, and his solo output is casual and intimate. It's like hearing someone rehearsing in their bedroom studio, playing to their own internal rhythm and disrupting the session with shonky hand-made gadgets. There's nothing overly complicated going on, but Freund never lets the music unfurl without interference, whether it's from bitcrushed samples, unstable synths or swirling delays.
"For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs.
Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust."
Black Lp with gloss laminate finish sleeve. Edition of 250 copies.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Trouble Books' Keith Freund gets up close and personal on 'Trash Can Lamb', playing homespun sax and piano phrases over DIY electronic sputters and hiccuping, downsampled loops.
There's something undeniably satisfying about Freund's music; the Akron-based multi-instrumentalist has been recording and collaborating for almost two decades, and his solo output is casual and intimate. It's like hearing someone rehearsing in their bedroom studio, playing to their own internal rhythm and disrupting the session with shonky hand-made gadgets. There's nothing overly complicated going on, but Freund never lets the music unfurl without interference, whether it's from bitcrushed samples, unstable synths or swirling delays.
"For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs.
Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust."
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