Lost Tribe Sound is currently running an 8 album subscription series, titled, 'We Stayed The Path That Fell To Shadow' which will run from the Fall of 2018 to the Summer of 2019. For more information on how to receive 'Deceptive Cadence...' at a discount along with the full series on Bandcamp, visit here: smarturl.it/fell.series.bc
10/10 - "Perhaps the most consistently awe-inspiring collection yet in a career brimming with emotional epics, Deceptive Cadence is a stunning achievement in modern composition." - (Scott A. Gray) EXCLAIM!
"These pieces often sound like the work of tight traditional folk ensemble that has been elevated into something unnaturally lush, layered, and dreamlike by the hands of a great drone artist who has been very careful not to lose their earthy, lyrical essence... If anything else comes along in the next six months to unseat Deceptive Cadence as one of my favorite albums of the year, it will have to be one hell of a revelatory release." - (Anthony D'Amico) BRAINWASHED
"This music fills my soul with calm and open vastness, the type that will remain there long after we’re gone." - HEADPHONE COMMUTE
"Deceptive Cadence is the crown jewel of Lost Tribe Sound's latest subscription series, if not of their entire discography. This is only fitting as William Ryan Fritch ~ who also records as Vieo Abiungo ~ is the label's signature artist. Deceptive Cadence makes a perfect introduction for neophytes, and a generous gift for fans: nearly 150 minutes of music spread across two discs, and not a single skippable track." - (Richard Allen) A CLOSER LISTEN
"Fritch has carefully curated the selected compositions in a way that transcends the original context to create something majestic and new, a singular opus that a listener can come to with fresh ears and experience with unfettered joy & wonder." - STATIONARY TRAVELS
"William Ryan Fritch is definitely a revelation that deserves to be heard by a larger audience... the way Fritch keeps sending pearls into the world is nothing short of breathtaking." (translated from Dutch) (Philippe De Cleen) DANSENDE BEREN
"This double album celebrates ten years of a flawless career" - DIVE INTO SUN
"Sometimes I have been sceptical about artists that release a lot of music usually on the same label. Lesser artist and labels (which I wont name) from my point of view have churned out work that is so similar and feels like that everything that has been recorded has been released. The situation with William Ryan Fritch and LTS is so much different. The bond between label and artist is one that I can’t think of a of a comparison to put next to." - DRIFTING, ALMOST FALLING
Film composer and multi-instrumentalist William Ryan Fritch will release his long-anticipated double album, ‘Deceptive Cadence: Music For Film Volume I & II’ on May 17th, 2019 via Lost Tribe Sound.
It’d be a laborious task to run through all of Fritch’s many accolades, since 2009 he has released over 20 albums and composed music for over 30 feature films and more than a hundred short films. Lost Tribe Sound has been by his side since the beginning, releasing a few of his finest stand alone scores, including the critically acclaimed, ‘The Waiting Room’, ‘Eagle Hunters in a New World’, and ‘The Old Believers.’ Of course, LTS could boast for days about what a musical genius we believe he is. Yet, having written so many of these press rants for Fritch in our time, we’ll try to curb ourselves at the risk of preaching to the choir or sounding disingenuous.
That isn’t to say, Fritch isn’t well deserving of mountains of praise. We are honestly amazed that his film music hasn’t attracted the attention of more major motion picture studios. To date, Fritch has penned imaginative and impressive scores for narrative and documentary productions that run the gamut of most every imaginable genre and aesthetic. From raw and emotional films that uncover startling humanitarian and ecological crises, such as 2016’s Oscar-nominated short film ‘4.1 Miles,’ and National Geographic’s sweeping ’Into The Canyon,’ to eccentric and nuanced biopics and documentaries on figures such as Ursula K LeGuinn, Bill Nye and Johnny Cash. Fritch has found unique and artful voices for these wide ranging stories.
Most of those familiar with Fritch, know only of his albums as a singer songwriter or genre-elusive multi-instrumentalist, which truly represent a small fraction of the depth and range of his work. ‘Deceptive Cadence…’ gathers the most remarkable and memorable pieces from Fritch’s vast catalog of film compositions. Rather than filling up two volumes with half assembled film cues and fragmented themes, Fritch has gone to great lengths with ‘Deceptive Cadence…’ to make sure both volumes tell a story, build theme, and create a satisfying full album experience as good as any movie they may have come from. While this music once graced a particular film, show, or commercial, it has all been reimagined, reworked and made whole in post-production to complete the epic narrative of ‘Deceptive Cadence…’
Even fans who remember the release of ‘Music for Film Vol.’ I in 2015 will be in for a serious treat. Rather than simply reissuing the album alongside the newly minted ‘Volume II,’ Fritch dove back into ‘Volume I,’ carving away the fat, leaving only the most breathtaking pieces from the original and replacing the rest with assuredly more mature and enduring compositions. The results of this care are astounding. Keeping in place the emotional sophistication and poise of the original, Fritch seamlessly entwines new classical motifs into the existing, enhancing everything for the better. It’s provided ‘Volume I’ with a newfound sense of regality, romance and legend.
While ’Volume II’ compliments ‘Volume I’ exceptionally well, much of the music was selected from more recent films. ‘Volume II’ eagerly shares the progression of Fritch’s work over the last few years, reveling in a new found subtlety, patience and confidence as his skills as a composer have advanced. There’s a more minimal and spatially aware approach at play here. Quiet and unhurriedness become the heroine of the story. With ‘Volume II,’ Fritch has been consistently practicing his craft, refining his unique minimalist/maximalist approach to better support the emotional impact of the lead melodies. Dispersed sparingly throughout, are some of the most long-form ambient classical compositions of Fritch’s career, offering a wonderful chance for listeners to become immersed in waves of drone-like strings, submerged piano melodies, and light bending arrangements. ‘Volume II’ undeniably deepens the well of talent and world building that Fritch has shared with us thus far, and binds together multiple film works into a complete and captivating whole.
‘Deceptive Cadence: Music for Film Vol. I & II’ is a moment to celebrate Fritch’s 10 year career as a composer. Even if much of the music was conceived to complete someone else’s vision, it’s still some of the most personal, heartfelt music he has ever composed. Made all the more intimate, since Fritch typically has to fall in love with the subject matter of the film and the approach of the director in presenting it. Working from his secluded and intimate home studio in Northern California, amongst the rolling green hills, farm pastures, and the occasional breath of salty ocean air, one can begin to gleam why his music feels so alive. It’s no wonder that since the beginning, Fritch has championed visual projects rooted in the preservation of the natural world, and the discoveries, innovations and stories of the people working to improve it.
‘Deceptive Cadence: Music For Film Vol. I & II’ arrives with a double CD album housed inside a lavish A5 size hard cover book. Each edition contains 8 full color pages of photos from Napa based photographer and designer Joe Borreson. Borreson’s wonderful images should be familiar to those who have followed the labels output, having lent his talents the cover of the original ‘Music For Film Vol. I’ digital edition, along with Fritch’s ‘Her Warmth’ and ‘Dampener’ EPs, as well as, The Green Kingdom’s ‘The North Wind and the Sun.’ Each one comes hand-numbered, and limited to 200 editions, with no repressings or second editions.