The troublesome thing about being a musician who writes records similar to Amber Fresh and her friends is that it’s a hard process to decide when to let go and just release a project because the tracks are mostly Lo-Fi and damped or in other words filled with distortion, noises, and reverb that sometimes make the record only less interesting. A reason why most of the bedroom producers who make Lo-Fi music don’t release their tracks and they just end up being a part of live radios or continuous mixes on YouTube.
When Rabbit Island posted Songs for Kids from Rabbit Island back in January 2014 on Bandcamp it was distinct, belonging somewhere in between Frankie Cosmos’swhy am I underwater?, DADDY COOL, im sorry im hi lets go, pure suburb and Benoît Pioulard’s Hymnal or even the King Creosote and Jon Hopkins’s collaborative project Diamond Mine from 2011. The whole project was analogous to watching our childhood through an 8mm Kodak camera in the early 90s; innocent, honest, pure and mostly heartwarming. The 16 tracks album set the motion of kids’ music in an entirely different direction enabling the fans and listeners to experience something that is both amusing and different even though the album was recorded in a kitchen with an acoustic guitar and a tape recorder.
However, Deep in the Big implies its difference from Songs for kids from Rabbit Island in how it sounds way more enriched and deliberate than anything Rabbit Island has previously made. It’s an album indisputably recorded with sheer ambition and painstaking effort only to make it nearly identical to its contemporaries. While artists like Fennesz and Sakamoto, Keith Kenniff have released projects that are absolutely prolific and share a similar intuition as Deep in the Big, Rabbit Island has managed to put out an album that somewhere has an entirely distinctive persona. Sonically Deep in the Big isn’t restricted to any emotional boundaries. It doesn’t deliver the sense of deep melancholy or morbidness, neither does it express the utmost bliss, rather it gives out the feeling of conventional and convivial life that fastens us. It’s the sense of an ordinary livelihood that most of us often forget to notice.
The lyrics in the tracks are not always passable, rather the vocal works mostly as a complementary element with the instrument and the samples than they are to express emotions through words. The songwriting has been one of the key elements in the album. Tracks like Deep in the Big, 11, 12, 13, The Gold Hall Beckons, Louie’s Song show how much of an honest and excellent songwriter Amber Fresh is. Overall, it’s definitely an album you should try.