Listen / Purchase: https://lnk.to/builtupon

'Built Upon a Fearful Void', a double album from William Ryan Fritch, out now on Lost Tribe Sound.  The final album in the Fearful Void Series.

'Built Upon a Fearful Void' was an album seemingly fated to never be completed. For the last 8 years the album had been recorded and either lost or discarded three times; a leak that water logged and ruined most of the half dozen tape reels the original album was recorded on, a destroyed and unrecoverable hard drive in 2018 that held the near completed mixes and finally in 2021 voluntarily letting go of what remained of the salvaged material to rerecord the album entirely using only faint flickers of the old tapes and cassettes that held the remnants of the old songs.

It is a two part record—meditating on lost epochs, feeble mythologies, and the many deep gulfs in human knowledge and perception. Each volume taking the listener through their own unique multi-textured explorations of the union and disunion of sonorities for pipe organ, reed instruments, voice, viola da gamba, prepared piano, pedal steel, viola d’amore and banjo.

Artwork by Christopher "Ilth" Erickson

Built Upon a Fearful Void

The Shallow Well

William Ryan Fritch - The Shallow Well (from Built Upon a Fearful Void)

Listen / Purchase: https://lnk.to/meltingworld

Ryan Chamberlain (aka Arrowounds) originally envisioned 'The Rise and Fall of the Melting World' as an extension of the previous two albums, 'Oncotype Sketchbook' and 'The Loneliness of the Deep Sea Diver,' although with the intended purpose of exploring the "aftermath and resurfacing" from the events that inspired those creations.

Chamberlain aimed for a more open sounding terrain to represent a clearing of the mind or the ability to breathe again, though there were multiple occasions throughout the making of 'Rise and Fall' where the waves came crashing back down into the depths. Nothing is ever that easy. Continuing health scares of those closest to Chamberlain and the overall climate of anxiety the world maintains always threatened to darken and pollute the soundscapes during their creation.

Field recordings from Chamberlain’s new living environment; far from the city, also played a huge role in shaping this album, maneuvering the senses of uncertainty and isolation throughout. Traveling in the mind, projecting ones being through nature, spilling out amongst the moss and soil into your own film of wreckage… senses perceive as much as deceive.

As it stands, 'The Rise and Fall of the Melting World' is the perfect closing to the trilogy of albums, with its lingering threads and cancerous tentacles breaching the surfaces and branching into unknown landscapes.

The Rise and Fall of the Melting World

Caverns of the Behemoth (Edit)

Arrowounds - Caverns of the Behemoth (Edit)(from The Rise and Fall of the Melting World)

CD/DL: https://tgeruis.bandcamp.com/album/slow-dance-on-moss-beds

't Geruis 'Slow Dance on Moss Beds' is the fifth release in Lost Tribe Sound’s album series, Salt and Gravity. The series includes albums from Arrowounds, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), ’t Geruis, Federico Mosconi, Sanr, mastroKristo, and Alapastel. To receive 'Slow Dance on Moss Beds' on CD or Digital at a discount, subscribe to the series here: losttribesound.bandcamp.com/album/salt-and-gravity-series

Music hides when we are not looking for it. There are very many found melodies in these pieces, a gift from trees, wind, machines and people. A fluttering piece of music we could easily miss. We just need to catch it. 

Making these pieces was a challenging dynamic between making and listening. The challenge of being able to say "stop" within the creative process, or in some cases to be able to take a step back. Reduction, sometimes destruction, before creation. When we stumble upon something valuable, we don't dig any further. We dust it off, frame it and we don't touch it again.

Slow Dance on Moss Beds

iets kostbaars

't Geruis - Iets Kostbaars (from Slow Dance on Moss Beds)

CD/DL: https://sanr.bandcamp.com/album/ramak

Sanr (@sanrsoundscape) 'ramak' is the sixth release in Lost Tribe Sound’s album series, Salt and Gravity. The series includes albums from Arrowounds, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), ’t Geruis, Federico Mosconi, sanr, mastroKristo, and Alapastel. To receive 'ramak' on CD or Digital at a discount, subscribe to the series here: losttribesound.bandcamp.com/album/salt-and-gravity-series

----------------------------------------------------

‘Ramak’ (out now on Lost Tribe Sound) is a métissage, a sonic cross-breed so to speak. ‘Ramak’ was not synthesized, nor the product of intelligent design. It is more about multiplicities, encounters, fascinating coincidences, and simply absorbing the surroundings.

'Ramak' began taking shape during one uninterrupted recording session, where sanr made the most of a borrowed contrabass with only one string. They had only six hours with the embattled instrument and worked to make the most of it. As this session was the first and last time they ever saw the contrabass. This would become the only instrument used in the production of 'Ramak.'

ramak

cangıl

sanr - cangıl (from the album ramak)

CD/DL: https://federicomosconi.bandcamp.com/album/air-sculptures

Federico Mosconi's 'Air Sculptures' is the seven release in Lost Tribe Sound’s album series, Salt and Gravity. The series includes albums from Arrowounds, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), ’t Geruis, Federico Mosconi, sanr, mastroKristo, and Alapastel. To receive 'Air Sculptures' on CD or Digital at a discount, subscribe to the series here: losttribesound.bandcamp.com/album/salt-and-gravity-series

----------------------------------------------------

LTS has been following the work of Italian classical guitarist and composer Federico Mosconi since first hearing ‘Light not Light’ released in 2019. We were impressed by the album’s balance between solemn guitar movements, abstract noise, and subtle industrial pulses. At the time, describing it as if GAS retired off the coast of Italy and took up classical guitar. Since that time, LTS has stayed in contact with Mosconi waiting for the right album to combine efforts, enter ‘Air Sculptures.’

‘Air Sculptures’ creates space for Mosconi’s signature classical guitar work, though it remains far more shadowed than previous efforts, taking on a vaporous and elusive quality.  Flow is ushered along by a strong reliance on rhythmic patterns to outline the contours of many of the songs. These are not the straight-forward beats one might find in electronic music, these fleeting stomps and flickering percussions serve as a grounding presence while still allowing a malleable freedom to exist in the overall composition. In essence, the texture of the percussion is a wonder, soft… like muted bamboo chimes clacking in the wind, coarse… like gravel falling from the hand, deep… like burying a mic a few feet below ground and pounding the earth above. 

‘Air Sculptures’ melodically speaking, feels akin to the monolithic drone work of Rafael Anton Irisarri. Origambiro also comes to mind when referencing Mosconi’s use of found rhythms, made from a multitude of dropped and collided objects. Yet the most luminous moments, ultimately belong to the classical guitar. Mosconi doles out a blend of triumph and sorrow with the strings, comparable to the likes of Western Skies Motel or Yadayn.

Air Sculptures

Federico Mosconi - Air Sculptures (Album Preview)

CD/DL: https://alderandashmusic.bandcamp.com/album/if-this-were-my-body

Adrian Copeland's 'If This Were My Body' is the eighth and final release in the Lost Tribe Sound album series, Salt and Gravity. The series includes albums from Arrowounds, ’t Geruis, mastroKristo, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), Federico Mosconi, sanr, and Alapastel. To receive 'If This Were My Body' on CD or Digital at a discount, subscribe to the series here: https://losttribesound.bandcamp.com/album/salt-and-gravity-series

------------------------------------------------

‘If This Were My Body’ (releasing on Lost Tribe Sound) is the first album from Canadian experimental cellist and composer Adrian Copeland under his given name. Some may be familiar with Copeland’s body of work as Alder & Ash. While the project has garnered attention from a wide range of musical communities ranging from metal to classical, the decision to release the new record apart from the works of his alias make sense. Though Copeland remains committed to the cello as the primary and only sound source, its an internal shift that has played the biggest part in shaping this album.

"If the music I wrote was my body, how would I use it to tell stories? Would I fight with others, would I hurt myself, would I yell or would I cry? On this album, I wanted to reclaim my body as an instrument of gentleness and love. Too often, the male body is objectified as a tool of violence and hate, and we don't often have the chance to learn what it means to love as men. My own relationship with my body is marked with bitterness, self hatred, and shame. This album "If This Were My Body" is an unlearning of all the violence I've inflicted and all the violence that's been inflicted on me. It's a celebration of another way of being, one of vulnerability and tenderness.

There is a triumph here that doesn't exist on my previous albums. There are moments of sadness and intensity, but it's overwhelmingly an album about love, specifically self love. During this period I was undergoing a period of transformation and relearning my relationship to myself, my work, and most importantly, my body. I wanted to release this album under my own name, as it felt more vulnerable to do so. There is no artifice to hide my emotions”

- Words of Adrian Copeland

If This Were My Body

If This Were My Body (Album Preview)

Adrian Copeland (aka Alder & Ash) - If This Were My Body (Album Preview)

Support and follow @Aaron-Martin on Bandcamp here: https://aaronmartin.bandcamp.com/album/the-end-of-medicine-original-score

Watch the film: https://www.theendofmedicine.com/

Lost Tribe Sound catalog: https://losttribesound.bandcamp.com

After working on the short film score for Alex Lockwood's "Test Subjects" in 2019, the BAFTA award-winning director again approached Aaron Martin about working on the original music for his first feature-length documentary film "The End of Medicine" with Rooney Mara and Joaquin Phoenix acting as executive producers. The documentary explores zoonotic diseases and antimicrobial resistance, which threaten the health and lives of the entire human population.

The End of Medicine (Original Score)

A Signal and an Oath

Aaron Martin - A Signal and an Oath (from The End of Medicine)

Read Drowned in Sound's exclusive track by track breakdown penned by William Ryan Fritch here: smarturl.it/drowninsoundsc2dis

Purchase a copy of Leave Me in physical or digital format: smarturl.it/leavemebc

Join the 9 Album Subscription Series here: smarturl.it/leavemesessionsbc

or for subscription installments visit here: smarturl.it/leavemesessionslts

Lost Tribe Sound is very proud to announce their third release of 2014, Leave Me Like You Found Me, a new full length album from composer/multi-instrumentalist William Ryan Fritch.

Known primarily for his critically acclaimed work as a film composer (Independent Spirit Award winning documentary The Waiting Room, Myth of The American Sleepover etc.) and for his contemporary classical/experimental recordings as Vieo Abiungo, Fritch has furthered the focused, singular sound of his latest EP Emptied Animal and produced a remarkably cohesive LP of lucid melodies and commandingly blunt rhythms.

The inspiration and namesake for the album was Adele Romanski’s unflinching character study of former lovers unable to free themselves from the burden of their shared history. These songs, dressed in the loaded and nostalgic warmth of magnetic tape, cull sounds from the canon of classic rock, deconstructing and repurposing them into anthems of euphoric selective memory. Where the emotional residue outlasts it's derivatives.

Leave Me delivers rapturous melodic outbursts, expressive arrangements, Fritch's magnificent arsenal of acoustic instrumentation, and the familiar, comforting sounds of vintage rock music refracted through the prism of modern classical sensibilities. It is lyrical yet wordless; lush, but never soft. Deliberate, yet unbound.

Those lucky enough to get a physical copy will be treated to deluxe packaging featuring the work of renowned visual artist João Ruas, a 14 song mini-album on a download card with half an hour of brand new original music unavailable anywhere else, and a double-sided card print of original artwork from William Ryan Fritch and Jamie Mills.

William Ryan Fritch: http://williamryanfritch.com
João Ruas: http://feral-kid.com
Jamie Mills: http://jamie-mills.co.uk

Download Press Kit: 
smarturl.it/leavemepresskit

Packaging:
- CD housed in a panoramic 7” x 5” heavy stock, reverse printed case.
- Artwork throughout by world renowned Brazilian artist/illustrator João Ruas.
- 14 Song Mini-Album on a download card, 28 minutes of original music (For CD Purchases Only) 
- Two-sided Art Card featuring artwork from WR. Fritch and Jamie Mills.
- Limited to 450 copies for the world.
- Mastered by Carl Saff

Track list:
1. A Still Point in this Turning World
2. Sun on Cold Skin
3. With the Winds Against Us
4. Coursing Through Veins
5. Half Awake in Slow Motion
6. Weightless
7. Tangled Together
8. Empty Upon Impact
9. Bind and Unbind
10. Leave Me Like You Found Me

Bonus Album (CD Purchases Only)
1.A Sad Whispering Wind
2. In The Same Breath
3. Deliberate
4. Her Warmth
5. Take Pause
6. In Contempt, In Silence
7. Our Wilderness
8. Saccharin
9. Siri Song
10. Reacquaint
11. What Stays In Motion
12. A Slow Burn
13. Reluctant To Change
14. A Sad Whispering Wind II

Purchase Album

William Ryan Fritch - A Still Point In This Turning World (from Leave Me...)

Read Drowned in Sound's exclusive track by track breakdown penned by William Ryan Fritch here: smarturl.it/drowninsoundsc2dis

Purchase a copy of Leave Me in physical or digital format: smarturl.it/leavemebc

Join the 9 Album Subscription Series here: smarturl.it/leavemesessionsbc

or for subscription installments visit here: smarturl.it/leavemesessionslts

Lost Tribe Sound is very proud to announce their third release of 2014, Leave Me Like You Found Me, a new full length album from composer/multi-instrumentalist William Ryan Fritch.

Known primarily for his critically acclaimed work as a film composer (Independent Spirit Award winning documentary The Waiting Room, Myth of The American Sleepover etc.) and for his contemporary classical/experimental recordings as Vieo Abiungo, Fritch has furthered the focused, singular sound of his latest EP Emptied Animal and produced a remarkably cohesive LP of lucid melodies and commandingly blunt rhythms.

The inspiration and namesake for the album was Adele Romanski’s unflinching character study of former lovers unable to free themselves from the burden of their shared history. These songs, dressed in the loaded and nostalgic warmth of magnetic tape, cull sounds from the canon of classic rock, deconstructing and repurposing them into anthems of euphoric selective memory. Where the emotional residue outlasts it's derivatives.

Leave Me delivers rapturous melodic outbursts, expressive arrangements, Fritch's magnificent arsenal of acoustic instrumentation, and the familiar, comforting sounds of vintage rock music refracted through the prism of modern classical sensibilities. It is lyrical yet wordless; lush, but never soft. Deliberate, yet unbound.

Those lucky enough to get a physical copy will be treated to deluxe packaging featuring the work of renowned visual artist João Ruas, a 14 song mini-album on a download card with half an hour of brand new original music unavailable anywhere else, and a double-sided card print of original artwork from William Ryan Fritch and Jamie Mills.

William Ryan Fritch: williamryanfritch.com
João Ruas: feral-kid.com
Jamie Mills: jamie-mills.co.uk

Download Press Kit: 
smarturl.it/leavemepresskit

Packaging:
- CD housed in a panoramic 7” x 5” heavy stock, reverse printed case.
- Artwork throughout by world renowned Brazilian artist/illustrator João Ruas.
- 14 Song Mini-Album on a download card, 28 minutes of original music (For CD Purchases Only) 
- Two-sided Art Card featuring artwork from WR. Fritch and Jamie Mills.
- Limited to 450 copies for the world.
- Mastered by Carl Saff

Track list:
1. A Still Point in this Turning World
2. Sun on Cold Skin
3. With the Winds Against Us
4. Coursing Through Veins
5. Half Awake in Slow Motion
6. Weightless
7. Tangled Together
8. Empty Upon Impact
9. Bind and Unbind
10. Leave Me Like You Found Me

Bonus Album (CD Purchases Only)
1.A Sad Whispering Wind
2. In The Same Breath
3. Deliberate
4. Her Warmth
5. Take Pause
6. In Contempt, In Silence
7. Our Wilderness
8. Saccharin
9. Siri Song
10. Reacquaint
11. What Stays In Motion
12. A Slow Burn
13. Reluctant To Change
14. A Sad Whispering Wind II

William Ryan Fritch - With The Winds Against Us (from Leave Me...)

Purchase album: https://thephonometrician.bandcamp.com/album/c-iste-bodhar

Death arrives in many forms, and it is often at the root of many mythologies and lore. The new album titled, ‘Cóiste Bodhar,’ from multi-instrumentalist The Phonometrician is a work inspired by two such narratives. This is the second full-length album from Mexico City based musician Carlos Morales under the alias.

The Phonometrician holds true to his core instrumentation throughout ‘Cóiste Bodhar,’ using an acoustic guitar, a Venezuelan cuatro, and synths to give the album a push towards the realm of dark folk. Returning are Morales’ signature low end stomps, which seem well-suited for the topic of death. These heavy marching rhythms share commonalities with those one might expect to hear from the martial industrial or ritual scene. Yet in combination with the cyclical guitar melodies, the dooming percussion never seems to weigh down the compositions. Also for the first time Morales invites a collaborator, with Adrian Copeland (aka Alder & Ash) delivering a scorching cello performance on the song "Death Rides a Horse: Part II.“

Cóiste Bodhar

Death Rides a Horse: Part I

The Phonometrician - Death Rides A Horse: Part I (from Cóiste Bodhar)

Support and follow @Wickerbird on Bandcamp here: https://wickerbird.bandcamp.com/album/the-sea-weaver

Wickerbird is the atmospheric dream-folk project of Blake Cowan, started in the wild foothills of Mt. Rainier. It began as a means of relating the understanding he found wandering the woods, told in distilled daydreams and wrought within the distant strands of tranquil, wistful guitars and cavernous, haunting harmonies.

His prior work includes The Crow Mother (2012), The Westering (2013) and The Leaf Maker (2015) — collections of music that are steeped in allegories of disillusionment and transition, casting personal insights under layers of natural metaphor and mythical imagery. 

Where this past work concerned itself with forest-bound introspection, examining the forces of change in their capacity for growth, Wickerbird’s upcoming full-length record The Sea Weaver shifts its perspective outwards to the horizon, reckoning instead with the destructive aspects of change. 

While his vantage remains lodged in those same diminishing natural spaces, The Sea Weaver instead explores his relation to the rapidly unraveling human context that envelops him and in doing so, contends with a haunted acceptance of being bound to its fate. It is a collection of threadbare elegies for the end, as overheard through the walls of a crumbling house. 

With gauzy, liminal atmospheres, stark finger-picked melodies, reverberant choirs, and mythologized natural imagery, Wickerbird makes an accounting of what emotions remain – when the anger and fear of a stolen future have long burnt off.”

The Sea Weaver

in altar wine

Wickerbird - in altar wine (from The Sea Weaver)

Buy Polarity here: https://williamryanfritch.bandcamp.com/album/polarity

‘Polarity’ is the first in a three album series reflecting on the many calamitous water crises affecting life on this planet.

Fifty percent of the sales for the three album series will be donated to communities that are at the front line of these crises, in perpetuity.

First round of donations have and are being directed towards:
https://healthyalaskanatives.org/fund/healthy-communities-fund/climate-impact-response-fund/

Much of the sound of Polarity was inspired by experiments in “real world-ing” various synthesized and electronic signals through modified speakers, transducers, solenoids and a multitude of electromagnetic drivers. All of which allow the sounds to be captured as acoustic phenomena resonating through various materials and liquids. For years, Fritch struggled to find a way to meaningfully utilize synthesized sounds and direct input signals in his music. So much of his relationship with composition and music in general is founded on tactility and proximity serving as vital determinants in how a piece of music is performed and developed. Fritch finally found relief from this through the utilization of hydrophones, ceramic PZM mics and unique contact mic setups to capture these sounds in a way that let him feel and see the vibration, resonance and energy from these circuits.

Polarity

Blistering Wind

William Ryan Fritch - Blistering Wind (from Polarity)

Buy In the Octopus Pond: 
https://arrowounds.bandcamp.com/album/in-the-octopus-pond

Buy the 4 album series:
https://arrowounds.bandcamp.com/album/therianthrope-series

Lost Tribe Sound proudly introduces 'In The Octopus Pond', the first album in a series of album from Arrowounds, titled, the 'Therianthrope Series.' With previous works, Ryan Chamberlain has taken us through personal lows and bleak watery worlds in disrepair. However, 'In The Octopus Pond' sheds much of that skin and sets course for lush, green environments steeped in the bizarre. That said, this new material sounds more accessible than ever. The first entry in the trilogy draws from a range of musical influences, Can, Bark Psychosis, Young Gods, Slowdive, Durutti Column, Seefeel and much of early 4AD.

Rather than tackle some inner monologue or global crisis with the album, ITOP is instead accompanied by an obscure short story and visuals just as fitting. As both Arrowounds and LTS would prefer to take some time away from heavy realities and make up our own.

For here it begins and circles back into itself…
In the days before the great boil, the earth was lush and green, cared for by a race of mystic octopoed. In acts of preservational instinct, many chose to build their temples high on top of engineered tumuli, weary of prior flooding and wildfires that drastically disfigured the landscape. It was here that these priests of arms who carved ornate reliefs into the great pillars of obsidian and bone, dug down seeking mineral deposits in the earthen abyss and found a gestating world beneath the below... to be continued

In the Octopus Pond

Blue Entombed (Edit)

Arrowounds - Blue Entombed (Edit)

Buy Infinity Pools EP: http://smarturl.it/buyipools

Debuted on Stereogum here: http://bit.ly/1DAC8ZQ

What does the future of peace and quiet look like? Is it possible for someone to find serenity in a world where population mushrooms and buildings continuously jockey for the best possible view? With Kael Smith’s (Mombi, Khale) Mute Forest this dichotomy is at the epicenter of his 'Infinity Pools EP' due April 7th via Lost Tribe Sound. 

To coincide with visuals courtesy of Gregory Euclide (Bon Iver, Erased Tapes), Smith’s debut EP fuses acoustic sounds, mangled electronics and provocative lyrics across four meditative yet mesmerizing tracks. 

Serving as a companion piece to his expansive and sonorous LP, 'Deforestation', due later this year, Smith’s 'Infinity Pools EP' was actually written as a reaction to that material but will be released first.“ 'Deforestation' will in a sense be a prequel to the EP,” explains Smith. “And for listeners who follow along, should provide an interesting reverse narrative,” he concludes. 

“Crypt,” the EP’s opener, contains oscillating vinyl-sampled rhythms, chiming electric guitar and gently struck nylon guitar. Following that is the sparce and haunting “Volcanoes Flowing,” which traces a melancholy beat and slow, lovely piano crescendos to its heartbreaking conclusion. 

Darker in tone, title track "Infinity Pools" has a commanding presence using ominous electronics and damaged samples of Le Creuset pots being struck. Heavily processed and featuring vocals from Smith’s longtime girlfriend Kelly O’Brien, the track unfurls into a hypnotic groove over the chilling words “You’ll feel like an ember trilling/out in space.” 

Washing over the listener to conclude the EP, “Eat the Skin” originally started as an A Winged Victory for the Sullen remix of a song off of their recent LP, 'Atomos'. As the track progressed though, all of the layers performed by AWVFTS were eventually stripped leaving only acoustic guitar and Smith’s voice. “I like to pretend we wrote that song together, hopefully someday they will hear it” desires Smith. He uses the big, cavernous sound of acoustic guitar as base for unhurried, dulcet vocals and airy electronics. “I’ve always loved the big, acoustic sound of Seafood’s “Desert Stretched Before the Sun”“ explains Smith. “I really tried to emulate that deep resonate tone where the acoustic sounds like a tidal wave.”

All songs written, performed, recorded and mixed by Kael Smith (http://kaelsmithmusic.com) 
Kelly O'Brien backing vocals on "Infinity Pools."  
Mastering by Taylor Deupree at 12k Mastering 
Production assistance on "Crypt" & "Volcanoes Flowing" by Matthew Herron 

Original artwork by Gregory Euclide (http://gregoryeuclide.com) 
Copyright 2015 Lost Tribe Sound (http://losttribesound.com) 
Published by Settled Scores 2015 (ASCAP)

Buy EP

Mute Forest - Infinity Pools (from Infinity Pools EP)

Buy Infinity Pools EP: http://smarturl.it/buyipools

What does the future of peace and quiet look like? Is it possible for someone to find serenity in a world where population mushrooms and buildings continuously jockey for the best possible view? With Kael Smith’s (Mombi, Khale) Mute Forest this dichotomy is at the epicenter of his 'Infinity Pools EP' due April 7th via Lost Tribe Sound. 

To coincide with visuals courtesy of Gregory Euclide (Bon Iver, Erased Tapes), Smith’s debut EP fuses acoustic sounds, mangled electronics and provocative lyrics across four meditative yet mesmerizing tracks. 

Serving as a companion piece to his expansive and sonorous LP, 'Deforestation', due later this year, Smith’s 'Infinity Pools EP' was actually written as a reaction to that material but will be released first.“ 'Deforestation' will in a sense be a prequel to the EP,” explains Smith. “And for listeners who follow along, should provide an interesting reverse narrative,” he concludes. 

“Crypt,” the EP’s opener, contains oscillating vinyl-sampled rhythms, chiming electric guitar and gently struck nylon guitar. Following that is the sparce and haunting “Volcanoes Flowing,” which traces a melancholy beat and slow, lovely piano crescendos to its heartbreaking conclusion. 

Darker in tone, title track "Infinity Pools" has a commanding presence using ominous electronics and damaged samples of Le Creuset pots being struck. Heavily processed and featuring vocals from Smith’s longtime girlfriend Kelly O’Brien, the track unfurls into a hypnotic groove over the chilling words “You’ll feel like an ember trilling/out in space.” 

Washing over the listener to conclude the EP, “Eat the Skin” originally started as an A Winged Victory for the Sullen remix of a song off of their recent LP, 'Atomos'. As the track progressed though, all of the layers performed by AWVFTS were eventually stripped leaving only acoustic guitar and Smith’s voice. “I like to pretend we wrote that song together, hopefully someday they will hear it” desires Smith. He uses the big, cavernous sound of acoustic guitar as base for unhurried, dulcet vocals and airy electronics. “I’ve always loved the big, acoustic sound of Seafood’s “Desert Stretched Before the Sun”“ explains Smith. “I really tried to emulate that deep resonate tone where the acoustic sounds like a tidal wave.”

All songs written, performed, recorded and mixed by Kael Smith (http://kaelsmithmusic.com) 
Kelly O'Brien backing vocals on "Infinity Pools."  
Mastering by Taylor Deupree at 12k Mastering 
Production assistance on "Crypt" & "Volcanoes Flowing" by Matthew Herron 

Original artwork by Gregory Euclide (http://gregoryeuclide.com) 
Copyright 2015 Lost Tribe Sound (http://losttribesound.com) 
Published by Settled Scores 2015 (ASCAP)

Infinity Pools EP

Volcanoes Flowing

Mute Forest - Volcanoes Flowing (from Infinity Pools EP)

Buy Album: https://williamryanfritch.bandcamp.com/album/new-words-for-old-wounds  

Cover Artwork by Sail - http://uselessarm.com

New Words For Old Wounds

Entirety

Buy Album

William Ryan Fritch - Entirety (from New Words For Old Wounds)

Buy Deforestation on vinyl or digital:
Bandcamp: http://smarturl.it/deforest-bc
Norman (UK): http://smarturl.it/deforest-norman
Darla (Distribution): http://smarturl.it/deforest-darla
Spotify: http://smarturl.it/deforest-spotify

Artist Website: http://kaelsmithmusic.com
Artist Facebook: https://www.facebook.com/MuteForest

Packaging:
• 180 Gram vinyl in a gatefold tip-on jacket w/resealable sleeve
• Lacquer cut by Roger Seibel at SAE Mastering 
• Mastered for vinyl and digital by Taylor Deupree
• Bandcamp DL code on card: Formats: FLAC, 320K MP3
• Physical copies only receive a free download of the Reforestation EP, including remixes from Kiln, Ten and Tracer, Western Skies Motel, Mombi, Spheruleus, Porya Hatami, plus two bonus songs from Mute Forest.

In a seemingly ceaseless acreage near his childhood home in the Rockies of Colorado, Kael Smith (Mombi, Khale) takes a deep breath and listens critically to the forest. It is not the same sound he remembers as a youth, when he’d disappear for hours deep into these woods. No, the sound he hears today is unfamiliar and vapid. Muted, really.

Since Smith’s departure to the city of Denver; the Mountain Pine Beetle has moved into these woodlands and decimated the trees; devouring their insides and leaving empty husks in its wake. It is among these thinned out swaths a word keeps repeating back to him, over and over, incessantly…Deforestation. 

Painstakingly written, recorded and mixed at his home studio in Denver, 'Deforestation' (Out November 13th on Lost Tribe Sound) sprawls across nine sonorous and meticulously wrought tracks containing elements of minimal electronic, ambient and folk. Large cavernous beats, micro-ambient deconstruction and nylon guitar all swirl into a coherent palate left for Smith’s poignant, intimate words. 

Mastered specifically for vinyl by Taylor Deupree (12k), and with the additional step taken to create lacquers and metal stampers by Roger Siebel at SAE Mastering, 'Deforestation' sees a gatefold 180-gram release from Lost Tribe Sound that, like the material, takes no shortcuts. Both the album’s acetate and test pressing were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed high-end audio dealer and vacuum tube specialists, Arizona Hi-Fi. Concluding the deluxe package and connecting intimately with the material within are stark, disintegrating images courtesy of renowned minimalist photographer Christy Romanick (Rivulets, Chihei Hatakeyam).

Deforestation

Various Lake Contents

Mute Forest - Various Lake Contents

Buy Album:
Bandcamp: http://smarturl.it/deforest-bc
Norman (UK): http://smarturl.it/deforest-norman
Darla (Distribution): http://smarturl.it/deforest-darla
Spotify: http://smarturl.it/deforest-spotify

Artist Website: http://kaelsmithmusic.com
Artist Facebook: https://www.facebook.com/MuteForest

Packaging:
• 180 Gram vinyl in a gatefold tip-on jacket w/resealable sleeve
• Lacquer cut by Roger Seibel at SAE Mastering 
• Mastered for vinyl and digital by Taylor Deupree
• Bandcamp DL code on card: formats: FLAC, 320K MP3
• Physical copies only receive a free download of the Reforestation EP, including remixes from Kiln, Ten and Tracer, Western Skies Motel, Mombi, Spheruleus, Porya Hatami, plus two bonus songs from Mute Forest.

In a seemingly ceaseless acreage near his childhood home in the Rockies of Colorado, Kael Smith (Mombi, Khale) takes a deep breath and listens critically to the forest. It is not the same sound he remembers as a youth, when he’d disappear for hours deep into these woods. No, the sound he hears today is unfamiliar and vapid. Muted, really.

Since Smith’s departure to the city of Denver; the Mountain Pine Beetle has moved into these woodlands and decimated the trees; devouring their insides and leaving empty husks in its wake. It is among these thinned out swaths a word keeps repeating back to him, over and over, incessantly…Deforestation. 

Painstakingly written, recorded and mixed at his home studio in Denver, 'Deforestation' (Out November 13th on Lost Tribe Sound) sprawls across nine sonorous and meticulously wrought tracks containing elements of minimal electronic, ambient and folk. Large cavernous beats, micro-ambient deconstruction and nylon guitar all swirl into a coherent palate left for Smith’s poignant, intimate words. 

Mastered specifically for vinyl by Taylor Deupree (12k), and with the additional step taken to create lacquers and metal stampers by Roger Siebel at SAE Mastering, 'Deforestation' sees a gatefold 180-gram release from Lost Tribe Sound that, like the material, takes no shortcuts. Both the album’s acetate and test pressing were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed high-end audio dealer and vacuum tube specialists, Arizona Hi-Fi. Concluding the deluxe package and connecting intimately with the material within are stark, disintegrating images courtesy of renowned minimalist photographer Christy Romanick (Rivulets, Chihei Hatakeyam).

Vine Covered Windows and Doors

Mute Forest - Vine Covered Windows and Doors

Buy Album: https://muteforest.bandcamp.com/album/reforestation-ep

Also, order Deforestation on vinyl or digital:
Bandcamp: http://smarturl.it/deforest-bc
Norman (UK): http://smarturl.it/deforest-norman
Darla (Distribution): http://smarturl.it/deforest-darla
Itunes: http://smarturl.it/mf-itunes
GooglePlay: http://smarturl.it/deforest-gplay
Spotify: http://smarturl.it/deforest-spotify

Artist Website: http://kaelsmithmusic.com
Artist Facebook: https://www.facebook.com/MuteForest

Lost Tribe Sound and Mute Forest announce the 'Reforestation EP', which presents a carefully selected group of musicians to remix songs from the upcoming full-length 'Deforestation'. 

This remix EP will releases on the exact same day as 'Deforestation' and is available exclusively through Bandcamp for the time being, or comes with all physical editions of the 'Deforestation' vinyl. 

We are incredible honored to have brilliance of Kirk Marrison of Kiln at the mastering helm for this remix EP. Enjoy!

Physical purchases of the 'Deforestation' vinyl also receive a Bandcamp download code card for the Reforestation EP, including remixes from Kiln, Western Skies Motel, Mombi, Spheruleus, Porya Hatami, plus two bonus songs from Mute Forest. Also, see the home page for 'Deforestation for more details here: http://muteforest.bandcamp.com/album/deforestation-4

Reforestation EP

Glass of Sand Water

Mute Forest - Glass of Sand Water (from the Reforestation EP)

Purchase Reforestation EP: https://muteforest.bandcamp.com/album/reforestation-ep

Also, order Deforestation on vinyl or digital:
Bandcamp: http://smarturl.it/deforest-bc
Norman (UK): http://smarturl.it/deforest-norman
Darla (Distribution): http://smarturl.it/deforest-darla

Artist Website: http://kaelsmithmusic.com
Artist Facebook: https://www.facebook.com/MuteForest

Lost Tribe Sound and Mute Forest announce the 'Reforestation EP', which presents a carefully selected group of musicians to remix songs from the upcoming full-length 'Deforestation'. 

This remix EP will releases on the exact same day as 'Deforestation' and is available exclusively through Bandcamp for the time being, or comes with all physical editions of the 'Deforestation' vinyl. 

We are incredible honored to have brilliance of Kirk Marrison of Kiln at the mastering helm for this remix EP. Enjoy!

Physical purchases of the 'Deforestation' vinyl also receive a Bandcamp download code card for the Reforestation EP, including remixes from Kiln, Western Skies Motel, Mombi, Spheruleus, Porya Hatami, plus two bonus songs from Mute Forest. Also, see the home page for 'Deforestation for more details here: http://muteforest.bandcamp.com/album/deforestation-4

Distracted by My Contorted Reflection (Oxide Baroque - Kiln Rebuild)

Mute Forest - Distracted By My Contorted Reflection (Oxide Baroque - Kiln Rebuild)

Buy / Stream Album: https://lnk.to/wsmsettlers

Follow WSM on Bandcamp: http://westernskiesmotel.bandcamp.com
 
'Settlers' is the new album from Western Skies Motel in a limited edition of 170 gatefold 180gram vinyl, CD and digital formats.  'Settlers' was mastered for vinyl and digital by Taylor Deupree, with master lacquers cut by Roger Siebel at SAE.  The first 50 Vinyl & CD's ordered come with a bonus EP, 'Generations' mastered by Kirk Marrison of Kiln.

In the dry desert of Arizona that Lost Tribe Sound calls home, a letter is received from guitarist René Gonzàlez Schelbeck who’s eager to share a collection of intimately composed songs, titled 'Settlers'. Upon listening, we are immediately enthralled. There’s a timeworn, arid, and almost badlands quality to Schelbeck’s hypnotic, cyclical guitar style. It seems to perfectly capture the lonely, barren landscape of the American West. 

Yet, there are curious dynamics at play here as Schelbeck, who makes music under the alias Western Skies Motel, is from Denmark and far removed from any upbringing in the rough-hewn Americana style of folk guitar. Conceivably, his music has more in common with the lonesome, calculated tone of Berlin's modern classical scene or the rainy day folk of the UK. Those are intriguing parallels, since the collective mood of Western Skies Motel's music would adapt so well to either environment. 

Words hardly do justice to the rich, immersive experience of 'Settlers'; yet a few may help to set the stage. Schelbeck is a remarkably well rounded instrumentalist, who spent his early days losing his hearing in local punk rock bands. This youthful love for walls of sound and discordant guitar squalls survives in his modern sound palette. However, a more mature approach to these techniques brings moments of palpable tension, adding in uneasy waves of guitar feedback and droning harmonium. 

But ultimately, the truth of what Schelbeck hopes to convey through his music may rest rmly in his subconscious. In hindsight, 'Settlers' is about moving between worlds: not in the dimensional sense, but more as a constant change in form. Each influence and sound Schelbeck incorporates into his music feels native to the delicate ecosystem of these songs and each turn feels as organic and nuanced as that of the natural world. Just as a tree’s leaves wither and fall; a fire sparks and expands only to expend its last bit of fuel, extinguished and left for ash. So true are the parallels we find in our own existence, the complex ritual of growing old and returning to dirt. Decay is inevitable for all life, yet through this it becomes the rich soil for all things proceeding. Western Skies Motel's weighty instrumental mantras may root in this and other meanings yet to be culled. One thing is clear, this music contains signicant power, and, regardless of our conceived themes or geographic locations, it tells a story that is lasting and instantly familiar. 

'Settlers' sees a 180-gram heavy weight gatefold release very similar to the recent Mute Forest debut, 'Deforestation'. The acetate and test pressings were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed audio dealer, Arizona Hi-Fi.

Western Skies Motel is building upon a busy year in 2015, having released two very different full-length albums 'Prism' (Preserved Sound) and 'Buried and Resurrected' (Twice Removed).

Settlers

Whirl

Western Skies Motel - Whirl (from Settlers)

Buy Album: http://smarturl.it/reforestbc

The 'Reforestation EP' presents a carefully selected group of musicians to remix songs from Mute Forest's debut full-length 'Deforestation' along with two new original songs from Mute Forest himself ("Glass of Sand Water and "Everglade").  The 'Reforestation EP' also came as a digital download card with physical editions of the 'Deforestation' vinyl.  This collection was given a brilliant mastering by Kirk Marrison of Kiln (Ghostly International). 

The 'Reforestation EP' works as a solid accompaniment to the proper album, but also manages to stand on its own as a complete body of music.  The warm ambiance of Mute Forest's original songs set the perfect backdrop to be reshaped into something equally as intimate and memorable.

Everglade

Mute Forest - Everglade (from the Reforestation EP)

Buy Album:
Bandcamp: http://smarturl.it/wsmbandcamp
Spotify: http://smarturl.it/settlerspotify
Itunes: http://smarturl.it/settlersitunes

Follow WSM on Bandcamp: http://westernskiesmotel.bandcamp.com
Follow WSM on Facebook: http://smarturl.it/wsmfb
Follow WSM on Spotify: http://smarturl.it/wsmspotify
 
'Settlers' is the new album from Western Skies Motel, out April 22nd, 2016 in a limited edition of 170 gatefold 180gram vinyl, CD and digital formats.  'Settlers' was mastered for vinyl and digital by Taylor Deupree, with master lacquers cut by Roger Siebel at SAE.  The first 50 Vinyl & CD's ordered come with a bonus EP, 'Generations' mastered by Kirk Marrison of Kiln.

In the dry desert of Arizona that Lost Tribe Sound calls home, a letter is received from guitarist René Gonzàlez Schelbeck who’s eager to share a collection of intimately composed songs, titled 'Settlers'. Upon listening, we are immediately enthralled. There’s a timeworn, arid, and almost badlands quality to Schelbeck’s hypnotic, cyclical guitar style. It seems to perfectly capture the lonely, barren landscape of the American West. 

Yet, there are curious dynamics at play here as Schelbeck, who makes music under the alias Western Skies Motel, is from Denmark and far removed from any upbringing in the rough-hewn Americana style of folk guitar. Conceivably, his music has more in common with the lonesome, calculated tone of Berlin's modern classical scene or the rainy day folk of the UK. Those are intriguing parallels, since the collective mood of Western Skies Motel's music would adapt so well to either environment. 

Words hardly do justice to the rich, immersive experience of 'Settlers'; yet a few may help to set the stage. Schelbeck is a remarkably well rounded instrumentalist, who spent his early days losing his hearing in local punk rock bands. This youthful love for walls of sound and discordant guitar squalls survives in his modern sound palette. However, a more mature approach to these techniques brings moments of palpable tension, adding in uneasy waves of guitar feedback and droning harmonium. 

But ultimately, the truth of what Schelbeck hopes to convey through his music may rest rmly in his subconscious. In hindsight, 'Settlers' is about moving between worlds: not in the dimensional sense, but more as a constant change in form. Each influence and sound Schelbeck incorporates into his music feels native to the delicate ecosystem of these songs and each turn feels as organic and nuanced as that of the natural world. Just as a tree’s leaves wither and fall; a fire sparks and expands only to expend its last bit of fuel, extinguished and left for ash. So true are the parallels we find in our own existence, the complex ritual of growing old and returning to dirt. Decay is inevitable for all life, yet through this it becomes the rich soil for all things proceeding. Western Skies Motel's weighty instrumental mantras may root in this and other meanings yet to be culled. One thing is clear, this music contains signicant power, and, regardless of our conceived themes or geographic locations, it tells a story that is lasting and instantly familiar. 

'Settlers' sees a 180-gram heavy weight gatefold release very similar to the recent Mute Forest debut, 'Deforestation'. The acetate and test pressings were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed audio dealer, Arizona Hi-Fi.

Western Skies Motel is building upon a busy year in 2015, having released two very different full-length albums 'Prism' (Preserved Sound) and 'Buried and Resurrected' (Twice Removed).

Falling Leaves

Western Skies Motel - Falling Leaves (from Settlers)

Buy Settlers on Vinyl / CD / Digital:
Bandcamp: http://smarturl.it/wsmbandcamp
Spotify: http://smarturl.it/settlerspotify
Itunes: http://smarturl.it/settlersitunes
Darla: http://smarturl.it/settlersdarla
Norman Records: http://smarturl.it/settlersnorman
Experimedia: http://smarturl.it/settlersexp
Stashed Goods: http://smarturl.it/settlersstashed

Follow WSM on Bandcamp: http://westernskiesmotel.bandcamp.com
Follow WSM on Facebook: http://smarturl.it/wsmfb
Follow WSM on Spotify: http://smarturl.it/wsmspotify
 
'Settlers' is the new album from Western Skies Motel, out April 22nd, 2016 in a limited edition of 170 gatefold 180gram vinyl, CD and digital formats.  'Settlers' was mastered for vinyl and digital by Taylor Deupree, with master lacquers cut by Roger Siebel at SAE.  The first 50 Vinyl & CD's ordered come with a bonus EP, 'Generations' mastered by Kirk Marrison of Kiln.

In the dry desert of Arizona that Lost Tribe Sound calls home, a letter is received from guitarist René Gonzàlez Schelbeck who’s eager to share a collection of intimately composed songs, titled 'Settlers'. Upon listening, we are immediately enthralled. There’s a timeworn, arid, and almost badlands quality to Schelbeck’s hypnotic, cyclical guitar style. It seems to perfectly capture the lonely, barren landscape of the American West. 

Yet, there are curious dynamics at play here as Schelbeck, who makes music under the alias Western Skies Motel, is from Denmark and far removed from any upbringing in the rough-hewn Americana style of folk guitar. Conceivably, his music has more in common with the lonesome, calculated tone of Berlin's modern classical scene or the rainy day folk of the UK. Those are intriguing parallels, since the collective mood of Western Skies Motel's music would adapt so well to either environment. 

Words hardly do justice to the rich, immersive experience of 'Settlers'; yet a few may help to set the stage. Schelbeck is a remarkably well rounded instrumentalist, who spent his early days losing his hearing in local punk rock bands. This youthful love for walls of sound and discordant guitar squalls survives in his modern sound palette. However, a more mature approach to these techniques brings moments of palpable tension, adding in uneasy waves of guitar feedback and droning harmonium. 

But ultimately, the truth of what Schelbeck hopes to convey through his music may rest rmly in his subconscious. In hindsight, 'Settlers' is about moving between worlds: not in the dimensional sense, but more as a constant change in form. Each influence and sound Schelbeck incorporates into his music feels native to the delicate ecosystem of these songs and each turn feels as organic and nuanced as that of the natural world. Just as a tree’s leaves wither and fall; a fire sparks and expands only to expend its last bit of fuel, extinguished and left for ash. So true are the parallels we find in our own existence, the complex ritual of growing old and returning to dirt. Decay is inevitable for all life, yet through this it becomes the rich soil for all things proceeding. Western Skies Motel's weighty instrumental mantras may root in this and other meanings yet to be culled. One thing is clear, this music contains signicant power, and, regardless of our conceived themes or geographic locations, it tells a story that is lasting and instantly familiar. 

'Settlers' sees a 180-gram heavy weight gatefold release very similar to the recent Mute Forest debut, 'Deforestation'. The acetate and test pressings were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed audio dealer, Arizona Hi-Fi.

Western Skies Motel is building upon a busy year in 2015, having released two very different full-length albums 'Prism' (Preserved Sound) and 'Buried and Resurrected' (Twice Removed).

Transformation

Western Skies Motel - Transformation (from Settlers)

Mastered by Nils Frahm

Buy a digital or physical copy of And the World...Remixes here: 
http://losttribesound.bandcamp.com/album/and-the-world-is-still-yawning-remixes

1. Man Makes Like More That Acrid Water (Aaron Martin Remix)
2. And The World Is Still Yawning (Field Rotation Remix)
3. Thundering of Empty Promise
4. Drowsy Salted Morning (Benoît Pioulard Remix)
5. What Lay To Waste Featuring Joan Jeanrenaud (Kronos Quartet)
6. Barges Bellow Their Foul Air (Sven Kacirek Remix)
7. Flotsam and Jetsam (Need More Sources Remix)
8. While The Others Sleep (Cock and Swan - Etherise Remix)
9. Rash of Silver
10. Our Racing Hearts (Skyphone Remix)
11. Feast Before Havest (The Green Kingdom - greenfeast Remix)
12. Drowsy Salted Mornings (Tokyo Bloodworm Remix)
13. Insincerity Peeked Through Cloudlessly (Upward Arrows Remix)
14. Still and Tepid Pools (Sun Hammer Remix)
15. With Each Forgetful Step...Progress (Nils Frahm Remix)
16. A Sad Swell (Humble Remix)

Vieo Abiungo (aka William Ryan Fritch) - And The World Is Still Yawning (Field Rotation Remix)

Buy Album: https://seabuckthorn.bandcamp.com/album/i-could-see-the-smoke

Lost Tribe Sound releases ‘I Could See The Smoke', an EP from UK guitarist/multi-instrumentalist Seabuckthorn, the EP is available on a limited cassette tape edition and digital. Since the recent success of guitarist Western Skies Motel’s album ’Settlers’ in April, the tribe has hit the jackpot this year signing another of the most interesting guitarists around. Andy Cartwright who records under the name Seabuckthorn came to our attention last year, after a wise suggestion from composer William Ryan Fritch with his full-length album, ’They Haunted Most Thickly’ on the admirable French label, Bookmaker Records. After taking a deep listen, the awe set in. Could this be the missing link between the bombastic, world building intensity of William Ryan Fritch and the sublime, droning meditations of Western Skies Motel? 

Seabuckthorn’s unique breed of guitar-based compositions have the ability to shift gear with such natural ease. Cartwright wields his weapons wisely, choosing a minimal, yet powerful arsenal made up of various twelve string guitars, a well worn resonator guitar, and deep accents of percussion. We hesitate to single out a particular style in the case of Seabuckthorn, as it rests comfortably alongside many genres. Americana and British folk are easy tags. The music also borrows from modern classical and drone. At times, even subtle cues of the Middle East enter the picture. Yet something more ancient is at work here, that recalls the minstrels of old, or the seafaring hymns of a long forgotten civilization. At times, the music comes full force, like an intense hunt through darkened woods, unleashing the resonator like half-tamed hounds, wild and relentless, a sickly horn-like sound rises from haze, a claustrophobic dread setting in the mind of the prey. In other moments, Cartwright's music plays with subdued, visceral tones that immediately fill the mind with imagined, yet familiar scenes: the hushed ember-lit nocturne for a desert at dusk; or the weary basecamp reveries at the summit of impassible cloud-capped mountains. 

Cartwright notes in his own words that, "'I Could See The Smoke' is an arrangement of ideas gathered whilst on a European tour throughout June 2016, along with a couple of older songs I've been playing live for a year or so. After the tour, I returned home to Bristol eager to strike while the iron was hot and try to capture these compositions. Recorded & mixed over a period of two weeks whilst feeling the heat (both literally & politically) I opted for a threatening, even apocalyptic EP title. Saying that, I think most of these songs can offer up a tranquillity to counteract the gravity of these uncertain times, a calm inside the eye of a storm."

Mastered by William Ryan Fritch

I Could See The Smoke

Overgrown Courtyard

Seabuckthorn - Overgrown Courtyard (from I Could See The Smoke)

Buy Album: https://seabuckthorn.bandcamp.com/album/turns

After 2016’s well-received EP,  'I Could See The Smoke', experimental guitarist Andy Cartwright (aka Seabuckthorn) returns with his new full-length album 'Turns', releasing April 21st on vinyl, CD and digital with Lost Tribe Sound.  Cartwright immediately caught our attention with his commanding full-length album 'They Haunted Most Thickly' in 2015. With 'Turns', Cartwright further solidifies his anomalous position within the genres solo guitar music, American primitive, and modern classical. 

The vinyl and CD edition arrive in the ever stunning physically and sonically minded fashion that LTS has become known for. 'Turns' takes form with a lush 180 gram audiophile grade vinyl housed in a heavyweight reverse printed jacket (limited to 500). The lacquer process vinyl edition was masterfully cut by Paul Gold at Salt Mastering in NY. Each edition comes with a Bandcamp download coupon. Plus, 'Turns' introduces a new handcrafted panoramic CD design (limited to 150 editions). 

'Turns' is an album wrought with vertical forms, heavily cinematic in design and scope.  It’s an album built from the earth. With eyes closed, one can easily imagine heavy rusted spires rising and collapsing upon themselves, only to be rebuilt from the rubble in the same instant, ever clawing towards the sky, with the rumblings of massive tectonic plates shifting below.  That said, 'Turns' is far more of a cerebral experience than its predecessors. transitioning seamlessly between hypnotic long-form pieces, minimal harp-like ballads and the primal stomping world-builders that have become Seabuckthorn’s calling card. 

Cartwright wields his minimal, yet powerful arsenal in new and intriguing ways throughout 'Turns', comprised of various twelve string guitars, a well worn resonator guitar and heavy waves of lumbering percussion. Plus, for the first time ever, Cartwright invites an outside player, composer and fellow friend of rustic orchestration, William Ryan Fritch to play double bass on three of the songs. In addition, LTS is honored to have worked with visual artist Gregory Euclide (Bon Iver, Lubomyr Melnyk) on the incredible original cover artwork for 'Turns', and sound engineer James Plotkin who handled the mastering.

Turns

Near Translucent

Seabuckthorn - Near Translucent (from Turns)

Buy Album: http://smarturl.it/clutchedbc

There have been many pretty and sorrowful pieces written for cello in recent years, yet Alder & Ash seem discontent in this mild approach, opting instead to purge the demons with a more unsettling and destructive aural palette. Not to say it’s all doom and gloom, as the moments of tension do give way to some resolve and enlightenment, but the true genius of Alder & Ash’s music lies in the balance of these extremes.

'Clutched in the Maw of the World', the second full-length album from Alder & Ash, is as much maximal as it is minimal. It punctuates periods of barren calm with thunder and screams, before creeping back to the silence and the dusk. The album is comprised entirely of cello. 'Clutched...' combines traditional classical modalities with gnarled, heavily treated modern techniques to devastating affect. Glass, wood, rain, stone and air are all present in the music, from the crystalline notes of the "Merciless Dawn" to the unyielding crashes and lumbering slabs of distorted rhythm of "A Seat Amongst God and His Children."

Alder & Ash treads on the experimental fringes of modern classical, perhaps too abrasive to play nice with the coy melodrama of the scene. Yet, the music has enough grit to take hold of lovers of doom, noise, and the like, perhaps winning over new fans of cello music from even the most hardened black metal die-hards.

Alder and Ash are not without their contemporaries, at times bringing to mind the lonesome bowed soundscapes of Warren Ellis, the calculated and darkly toned compositions of Christoph Berg, the rustic grandeur of the Montreal based label Constellation, or even the recent High Plains album on Kranky. With Alder & Ash’s penchant for unconventional rhythmics and freeform, teeth-baring experimentation one could also draw comparisons to the work of Colin Stetson.

Album Art by Susi Sie

Clutched in the Maw of the World

A Seat Amongst God and His Children

Alder & Ash - A Seat Amongst God and His Children (from Clutched in the Maw)

Listen / Purchase: https://lnk.to/hymnb

Aaron Martin and Dag Rosenqvist and their musical collaboration as From The Mouth Of The Sun seems to elicit immediate excitement from an ever-growing number of modern classical, post-rock and experimental music fans from around the world. The duo appears to be on a mission to bring their dynamic breed of electro-acoustic classical to the masses this year. From composer David Wingo selecting three From the Mouth of the Sun songs to appear in the critically acclaimed sci-fi thriller ‘Midnight Special,’ to their first original score for A24’s feature film ‘Menashe,’ praised at Sundance and in theaters this summer, Rosenqvist and Martin are well on their way to receiving the recognition they deserve.

‘Hymn Binding’ is the pair’s third album as From the Mouth of the Sun, and their first for US label, Lost Tribe Sound. The album is teeming with all the soul-stirring character one has come to expect from their work together. The long form crescendos built from Martin’s mournful strings and vast array of acoustic instrumentation are a perfect compliment to Rosenqvist’s delicate piano melodies, humming electronics, and waves of warm static.  

‘Hymn Binding’ was given the deluxe vinyl treatment. The edition arrives as a lacquer cut vinyl pressed on 180 gram virgin vinyl, housed in a matte finished gatefold tip-on jacket with artwork throughout from Gregory Euclide (Limited to 300). The deluxe edition also comes with a download card offering a choice of formats including FLAC, 320K MP3, etc. Mastering for vinyl and digital was performed by Taylor Deupree. The CD edition is also a work of art, housed in a heavy stock, handcrafted 7" x 5" book-style case with glass mastered CD and a download card for the album in high quality format (Limited to 150). The first 50 editions of both the vinyl and CD will come with a 6.5"x 5" print of the cover art by Gregory Euclide when purchased directly through LTS.

Artwork by Gregory Euclide

LINKS:
https://ftmots.bandcamp.com
https://aaronmartin.bandcamp.com
https://dagrosenqvist.bandcamp.com

Hymn Binding

Roads

From The Mouth Of The Sun - Roads (from Hymn Binding)

Listen / Purchase: https://lnk.to/sleepstations

From the Mouth of the Sun (aka Aaron Martin & Dag Rosenqvist) return with ‘Sleep Stations,’ an EP of six new songs, out May 18th, 2018 on Lost Tribe Sound. ’Sleep Stations’ rests comfortably alongside 2017’s ‘Hymn Binding’ their third full-length album and their original score for Joshua Z. Weinstein’s feature film, ‘Menashe.’ With ‘Sleep Stations’ the duo assures us that their exquisite palette of classical leaning, electro-acoustics reaped from their previous albums still leaves much to be explored.

Footage taken from NASA/JPL/University of Arizona

Sleep Stations

Reaching When Nothing Is There

From the Mouth of the Sun - Reaching When Nothing Is There (from Sleep Stations EP)

Order/Subscribe on our Website: http://smarturl.it/fell.series.lts
Order/Subscribe on Bandcamp: http://smarturl.it/fell.series.bc

For a ton more info see our FAQ section on the website series home page.  "Prosiac Ending" is an exclusive bonus song available for download when you subscribe to our 8 album Fell to Shadow Series.

‘We Stayed The Path Fell To Shadow’ is Lost Tribe Sound's new subscription series. The series will introduce 8 new albums to the roster.  The line-up includes new releases from William Ryan Fritch, Vieo Abiungo, Skyphone, Gavin Miller (featuring Aaron Martin), Spheruleus, The Phonometrician.  

We open with a charity compilation of various artists that shares the series name. The various artist album features collaborations from likes of From the Mouth of the Sun & Seabuckthorn, Kiln & Mute Forest and William Ryan Fritch & Manyfingers to name a few, with all proceeds going to benefit various environmental and mental health charities. The overall series will be presented in two high quality physical formats, encompassing 4 vinyl and 4 CDs, two of which will be double CD albums. The series will be also be available in a digital format. 

We Stayed The Path... (Subscription Series) options: 
• VINYL & CD BUNDLE (All 4 Vinyl, All 4 CDs)
• VINYL BUNDLE (4 Vinyl)  
• CD BUNDLE (4 CDs)
• DIGITAL BUNDLE (7 Albums)
(Limited to 75 Subscribers or less per option)

Always striving to better our presentation, the Series introduces a new hard cover book format for our CD editions, each edition contains 8 full color pages. Whether it be CD or vinyl, each edition comes hand-numbered, and highly limited to 100 to 200 editions at most, with no repressings or second editions. 
All the releases in the series are arranged, mastered and artwork has been designed for each album. By subscribing to this series now, you'll be directly helping us earn the finishing funds we need to put the albums into final production. It means a lot to us and the artists involved to have your trust and support with this massive undertaking.

Cover Image: “We Stayed The Path That Fell To Shadow” 
Image Source: Flickr.com/photos/simpleinsomnia 
"Native Mongolians Stand In Front of a Yurt" CC-by-2.0 
The cover image has been modified from the original source material.

Fell To Shadow

Prosiac Ending

Buy/Subscribe

William Ryan Fritch - Prosiac Ending (Subscriber Bonus Song)

Listen / Purchase: https://lnk.to/felltoshadow

This charity compilation is comprised of eleven exclusive songs from a variety of artists both new and old to the label. It serves as perfect representation of what Lost Tribe Sound has strived to bring forth over the years with its rustic, brooding mix of classical, folk and otherwise indescribable sound. The album includes collaborations by From the Mouth of the Sun & Seabuckthorn, Manyfingers & William Ryan Fritch, Kiln & Mute Forest, kj & The Green Kingdom, William Ryan Fritch & Alder & Ash, along with exclusive solo endeavors from The Phonometrician, Luton, Spheruleus, Alder & Ash, Gavin Miller and William Ryan Fritch.

We Stayed The Path That Fell To Shadow

Lesser Still

From the Mouth of the Sun & Seabuckthorn - Lesser Still (from We Stayed The Path...) Full Version

Listen / Purchase: https://lnk.to/mscars

Meander scars are geological features formed by the remnants of winding or meandering water channels. They are caused by the varying velocities of current within the river channel.

Lost Tribe Sound's second installment in its 8 album subscription series, 'We Stayed The Path That Fell To Shadow' comes courtesy of friend, musician and talented music writer, Gavin Miller. While his name may not be instantly recognizable to some, Gavin has been creating music for nearly a decade as one half of the sublime electronic ambient duo, Worriedaboutsatan, and has quite a few solo releases under his belt. In addition, Gavin has been a invaluable force in bringing many overlooked musical acts to the forefront through his brilliant writings for the UK publication, Drowned in Sound. 

'Meander Scars', Gavin's new double album is very much a departure from his previous output. While the use of acoustics has always resided in the backdrop on many of his solo and group efforts, it's plain to hear that with 'Meander Scars' these natural elements have risen to the top. Lost Tribe Sound is the ideal home for a Gavin Miller this delicate and organic. 

The aerial visuals formed by meander scarring and the origins of their creation, fit both the artwork and the vibe of music incredibly well. The long-form compositions were constructed from a series of slow churning rhythmic guitar loops, warm noise, soft synths and distant choirs which build over time into colliding patterns of pastoral bliss. Patient and mindful listening is key for these innocuous sounds to begin to carve their saturated pathways through the mind. Much like a river meandering over thousands of years, slowly dragging away the sediment and scaring the surrounding land, these pieces begin to take form, eroding away the malleable earth, letting gravity take hold to travel the course of least resistance.  

Being the ever curious and meddling types here at LTS, we engaged multi-instrumentalist and label mate Aaron Martin (From the Mouth of the Sun) to utilize his gorgeous cello sounds and other odd bits in his musical arsenal to fill out moments in the songs. Graciously, Aaron joined in, adding trembling washes of strings, chimes and other indiscernible noise to Gavin's compositions. Gavin than revisited his original material, carefully layering and balancing in the new instrumentation from Aaron. 

Excited by the results, Gavin shared them with us, and it was undeniable that Aaron's arrangements had created deep new conduits for the ears to follow. Yet, it wasn't until this moment that we fully appreciated the beauty of the original works. Torn by which versions to present as the final album, we realized why not present them both.  

Each version had a seemingly different affect on our conscious. The 'Upper Course' with Aaron Martin's additions, flows very much like a young river, faster, more active and commands the listener to be more attentive. Whereas, the original source material of 'Lower Course' mimics the behavior of an older river, slow flowing, in moments coming to a crawl. It's no longer the force able to move large boulders from its path. Yet in its stripped down form, it allows the listener to more easily traverse its tame currents, becoming the perfect cyclical backdrop needed for writing, drawing, and a multitude of other tasks requiring increased mental faculties.

Meander Scars

Upper Course I

Gavin Miller - Upper Course I (feat. Aaron Martin)(from Meander Scars)

Listen / Purchase: https://lnk.to/dcad

Film composer and multi-instrumentalist William Ryan Fritch's long-anticipated double album, ‘Deceptive Cadence: Music For Film Volume I & II’ out now on 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…’

Cover Image by Joe Borreson (http://www.dustclouddesign.com)

Deceptive Cadence - Music For Film Vol. I & II

Gut Level

Buy Album/Series

William Ryan Fritch - Gut Level (from Deceptive Cadence: Music For Film Vol. I & II)

Listen / Purchase: https://lnk.to/dregs

Nearly ten years ago at the onset of Lost Tribe Sound, an artist emerged whose impact would go on to define our core direction as a label, to release music that leaves its tattered edges proudly in place, acoustic instrumentation blended seamlessly with dirty mechanics, timeworn sound worlds rooted in the muck and mire of the present. While we’ve traversed a wide variety of genres over the years, 2019 will find LTS returning to our origins, a label dedicated to exposing some of most beautifully bizarre beat-driven electro-acoustic music we can get our hands on.

With that said, who better to kick off the year, than Vieo Abiungo. Many know this artist by his proper name William Ryan Fritch, but those who have followed LTS for a while should instantly recognize Fritch’s more obscure moniker.  A name thought to be long since retired, as it’s been over 6 years since Fritch released his last Vieo Abiungo album, ‘Thunder May Have Ruined The Moment.’  March 15th, will see the release of a new full length album ‘The Dregs.’

‘The Dregs’ was conceived over the last couple months to help along our 8 album series currently underway, titled, ‘We Stayed The Path That Fell To Shadow.’ The series hit some typical production lags, combined with a dose of personal tragedy. Fritch and LTS wanted something to offer our loyal subscribers that would bridge the gap until the arrival of his upcoming double album ‘Deceptive Cadence: Music For Film Vol. I & II,’ slated for release in late April 2019. We discussed resurrecting Vieo Abiungo, something we’ve entertained for a while now.  We asked if we could dive into Fritch’s massive archive of music and unearth some our favorite Vieo Abiungo tunes from lost and abandoned albums.  What we discovered were pieces that buzzed with the same raw and texturally unpredictability that first drew LTS to Fritch's music.   

While arranging the album, we focused in on songs that showcased a side of Fritch’s musical personality that has rarely been heard.  The aim was to make the distinction between William Ryan Fritch, the film composer and singer songwriter and his Vieo Abiungo project even clearer. In place of his signature sweeping strings and intricately layered orchestration, the thrum of plucked viola de gamba forms much of the backbone of the music, played in a style akin to a North African oud. In addition, ‘The Dregs’ stands out with its unusual percussion teasing out and tangling together poly-rhythmic lines that make for some of the most intoxicating rhythms we’ve ever heard from Fritch. A large arsenal of horns, marimbas, vintage keyboards, mbiras, and Tuareg-style electric guitars also find their way into the mix.  

‘The Dregs’ draws comparison to Fritch’s 2017 soundtrack for GoPro’s ‘Eagle Hunters in a New World,’  though the music of ‘Eagle Hunters’ focused squarely on experimenting with techniques and sounds of Mongolian Folk music and its incorporation into the landscape of the film. ‘The Dregs’ is allowed to dance more freely, unbound to a specific region, genre, or stylistic concern. The album feels malluable, held in permanent motion by its shapeshifting beats and bombastic melodies. Every track on the album is pure gunpowder, explosive in both mood and delivery, with the exception of a couple somber and timely interludes meant to give pause, recharge and prepare the ears for the next expansive onslaught.  ‘The Dregs' hits upon so many genres yet refuses to be defined by any of them. With any luck, ‘The Dregs’ will persuade Mr. Fritch to pull Vieo Abiungo permanently out of retirement and give us the next evolution in this immersive tale.

The Dregs

Cobble Together

Vieo Abiungo (aka William Ryan Fritch) - Cobble Together (from The Dregs)

Listen / Purchase: https://lnk.to/mnem

For a ton more info see our FAQ section on the website series home page.  Ala carte orders for 'Mnemosyne' on vinyl/CD/DL, visit here: https://thephonometrician.bandcamp.com/album/mnemosyne

‘Mnemosyne’ is the debut album from Mexico City based multi-instrumentalist, film composer and sound preservationist Carlos Morales, who creates under the name The Phonometrician.

‘Mnemosyne’ is an album that asks what memories would sound like if they were captured through sound. At its core, ‘Mnemosyne’ is album built around finger-picked acoustic guitar, somewhat classical or folk in nature, yet it’s much more than that.  Morales deploys a very specific palette of instrumentation to realize his musical vision, it’s as if a classical guitar is slowly being worn away and devoured by an onslaught of looping, ever-shifting analog sound creatures, scattering for cover when the light hits them too directly and continuously eat away at the strings. Much like rifling through the pages of an aged and tattered diary, warm shuffles of vinyl and airy waves tape saturation emerge only to retreat once more into the darker recesses, leaving the pysche grasping wildly to recall the meaning of their existence.

Artwork by João Ruas (https://joaoruas.com)

Mnemosyne

Here Comes The Storm

The Phonometrician - Here Comes The Storm (from Mnemosyne)

Listen / Purchase: https://lnk.to/dcad

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…’

Cover Image by Joe Borreson (http://www.dustclouddesign.com)

Deceptive Cadence: Music For Film Volume I & II

Reshuffle the Deck

William Ryan Fritch - Reshuffle the Deck (from Deceptive Cadence: Music For Film Vol. I & II)

Listen / Purchase here: https://lnk.to/ftmotslc

Aaron Martin and Dag Rosenqvist return as From the Mouth of the Sun with the much anticipated fourth studio album, 'Light Caught the Edges' (out October 15th, 2021 on Lost Tribe Sound).

NPR's Tom Huizenga said of the pair's 2017 album 'Hymn Binding,' "If From the Mouth of the Sun's mission... is nothing more than beauty itself, they have succeeded on a disproportionate scale." That quote does well to encapsulate Martin and Rosenqvist's main motivations with the project. Does one truly require a lengthy narrative with music as potent and emotive as From the Mouth of the Sun?

Lost Tribe Sound has long-admired From the Mouth of the Sun's ability to remain focused on the music. Despite the duo having a clear vision and a strong understanding of composition, there are no grand statements or overly academic concepts at play. This allows the music to just be what it is, moving, deep, personal. This unadorned approach is refreshing. The music feels like a blank canvas, easily approachable... rooted in the physical... its emotion is tangible.

Light Caught the Edges

From the Mouth of the Sun - For a Moment We Were Weightless (from Light Caught the Edges)

Stream / Buy: https://lnk.to/nohorizon

"Balkanize" from the Vieo Abiungo album 'At Once, There Was No Horizon'

"Built Upon A Fearful Void" or "Fearful Void Series" for short, is Lost Tribe Sound's latest subscription series. The series will introduce 15 new full-length albums to the roster between June 2020 through June 2021.  The line-up includes new full-length album by From the Mouth of the Sun, William Ryan Fritch, Vieo Abiungo, Yadayn, Microwolf, Several Wives, Arrowounds, and debut albums from Claire Deak & Tony Dupé (aka Saddleback), Mt Went (aka Seabuckthorn & Dave Anderson), Gallowglas, and Sailcloth.

Balkanize

Vieo Abiungo (aka William Ryan Fritch) - Balkanize (from At Once, There Was No Horizon)

Lost Tribe Sound is a record label that specializes in organic and exploratory sound. Lost Tribe Sound admires music that leaves its tattered edges proudly in place, acoustic instrumentation blended seamlessly with dirty mechanics, timeworn sound worlds rooted in the muck and the mire of the present. The sound generally falls along the lines of bizarrely rhythmic, beautifully decayed electro-acoustic music, often with a reverence for low-end. LTS focuses on full-length albums, with a strong commitment to well-made packaging. The aim is to unearth timeless music that pushes the envelope of modern composition while paying homage to the ancient.

Lost Tribe Sound

Popular tracks