Taiwanese folks: you can find Freelove Fenner’s new LP at Beethobear in Taipei.
Copies of Freelove Fenner’s LP are now stocked at Cosmic Dave’s Vinyl Emporium in Sudbury, Ontario.
Photo: Caitlin Loney
Behind the scenes on Freelove Fenner’s “In The Sound” music video and creating the film strips and photography for their Do Not Affect A Breezy Manner album art. Photos by TGS.
Some shots I took this summer at the Agora while helping my friends Peter and Caitlin make a video for their band Freelove Fenner. One of my other pics from that day ended up on the back cover of their new record.
Behind the scenes shooting the film for Freelove Fenner’s “In The Sound” and their Do Not Affect A Breezy Manner album cover. Photos by TGS.
Freelove Fenner at soundcheck last night.
Thank you so much to everyone who came out to their album launch, to Mécanik Synthétik and Sheer Agony for their great sets, and to The Plant for being incredible hosts. Congrats Peter, Caitlin, and Mikey!
Freelove Fenner - “All Things Break Through”
Set your eyeballs upon Freelove Fenner’s latest super-8 clip (now in vivid colour!) for the second track off their new record, Do Not Affect A Breezy Manner, out now on 12” vinyl with download card. The video features the captivating Jane L. Kasowicz and a cameo by George H. Cat.
We’re having a party next weekend to launch Freelove Fenner’s new LP, with performances by Freelove Fenner, Sheer Agony, and Mécanik Synthétik. $12 cover gets you a copy of the record, otherwise it’s PWYC.
Freelove Fenner in the Montreal Gazette!
While Freelove Fenner’s songs are far from spartan in structure — typical tunes will feature guitar, bass, drums and keyboards, all built up from a base of tape loops — there’s a disciplined economy of songwriting that declares itself the enemy of overstatement, knocking the knees out of the temptation to indulge in denser compositions. Not that that would be easy to do anyway: the trio’s sound is a direct result of the technological restrictions they’ve deliberately placed on their process.
“We record on an eight-track tape machine,” says Woodford, “so there’s something telling in the fact that it’s always going to end up a maximum of eight tracks. And sure, you can always bounce everything onto one track and then do more tracks, but there (are obstacles). Whereas if you were using Pro Tools, there’s no (obstacle) to entertaining any whimsies you might have about adding more layers.”
“We feel comfortable being smothered a little bit by limitations,” says Loney. “You become more decisive in what you’re doing.”
Photo: Phil Carpenter, The Gazette