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Lazy Sunday Mix #3

New Words for Old Wounds

william ryan fritch

Available on Vinyl here >>> http://bit.ly/14gBhg0

FREDERIC MERCIER - Spirit (Prins Thomas Diskomiks)

TODD TERJE - Snoove 4 Love (beatless version, pitched down one octave)

EASY

Lietus

http://smarturl.it/TTitsalbumtime

Bryan Ferry sings and plays Suzuki Omnichord and ES4 piano
Oliver Thompson plays guitar
Cherisse Ofuso-Osei plays drums
Hanne Hukkelberg sings too

TODD TERJE - Johnny And Mary (feat Bryan Ferry)

You can pre-order 'Revisionist' here: https://losttribesound.bandcamp.com/album/revisionist

Or subscribe to the 10 album series from Fritch on Bandcamp,
http://losttribesound.bandcamp.com/album/leave-me-sessions-subscription-series-pre-order

Our website also has options for adding the Death Blues 'Ensemble' LP to the series and 3 or 5 monthly installments here: http://losttribesound.com/shop/wrfseries

'Revisionist', the latest record from composer William Ryan Fritch (Vieo Abiungo), brings an emphatic close to his incredibly prolific 2014. Just one month after the release of Death Blues 'Ensemble'—his powerhouse collaboration with drummer and new music ringleader Jon Mueller—Fritch has produced his most focused and dynamic work yet. Energized by the collaboration with Mueller (Volcano Choir), the otherwise self-sufficient multi-instrumentalist surrendered his auterist sensibilities, seeking creative alliances with Benoit Pioulard, D.M. Stith, Origamibiro and Esme Patterson. The results are scintillating. From the elegant minimalism of “Winds” (produced by Pioulard) or the exultant vocals of “Gloaming Light” (performed by D.M. Stith), these inspired partnerships take Fritch’s instrumentation and craft to new destinations, employ new techniques, and further it’s immediacy and appeal.

Fritch writes, “Our physical laws do not in fact generate anything. They serve only to describe regularities and consistent relationships in nature. I embrace the notion of there being no immutable truth, that in its absence is an endlessly nuanced and novel experiential universe which—by eclipsing our feeble processing—leaves us innervated, enthusiastic of our unknowing.” This echoes the aching shimmer of “Impostors,” in which he sings: “To hear the sounds that you thought to be true, twisted and out of tune/ you must force your heart and nerve and sinew to serve you long after they are gone.” Those of us who know Fritch from his explosive instrumental music will be startled by his fragile, supple voice, which glides and undulates over the compositions with melodious confidence, adding another compelling dimension to his ornate sound world.

The artwork adorning Revisionist’s deluxe vinyl art booklet is the work of celebrated Brazilian artist João Raus. His work Arachne depicts the Greco Roman myth of a great weaver who insulted and bested Athena with her great skill, only to have her work torn to shreds and be condemned to live out her days ever-weaving as a spider. Ruas’s work itself is ripped into ribbons and collaged into arresting imagery that beautifully complements and enhances the album’s unique musical amalgam.

Accompanying 'Revisionist' are two contrasting EPs that serve as illuminating appendices to its aural aesthetic. 'Heavy' and 'Empty' are raw and unfiltered explorations of the distinct contrasting elements at play in the LP. 'Heavy' showcases a dense and propulsive maximalism that marked so many of Fritch’s early recordings as Vieo Abiungo, but realized with the evocative production and ruddy, unkempt western sound pallet of his most recent work. While 'Empty' is a work of patience and restraint, a look forward in many ways to the expressive and dynamic power uncovered by simplifying and paring down his ambitious, large scale works. Together these recordings are a formidable display of craft and skill from a composer no longer stymied by his expansive range, but empowered by it.

Buy LP/CD/Digital

William Ryan Fritch - Infant Sight (from Revisionist)

You can order 'Revisionist' here: https://losttribesound.bandcamp.com/album/revisionist

Or subscribe to the 11 album series from Fritch on Bandcamp,
http://losttribesound.bandcamp.com/album/leave-me-sessions-subscription-series-pre-order

Our website also has an option for 3 or 5 monthly installments here: http://losttribesound.com/shop/wrfseries

Buy or Stream Revisionist here:
Bandcamp: http://smarturl.it/buyrev
Itunes: http://smarturl.it/revitunes
Amazon: http://smarturl.it/revamazon
Spotify: http://smarturl.it/revspotify
Darla (US): http://smarturl.it/revdarla
Norman Records (UK): http://smarturl.it/revnorman
Stashed Goods (UK): http://smarturl.it/revstashed
Experimedia (US): http://smarturl.it/revexperimedia

'Revisionist', the latest record from composer William Ryan Fritch (Vieo Abiungo), brings an emphatic close to his incredibly prolific 2014. Just one month after the release of Death Blues 'Ensemble'—his powerhouse collaboration with drummer and new music ringleader Jon Mueller—Fritch has produced his most focused and dynamic work yet. Energized by the collaboration with Mueller (Volcano Choir), the otherwise self-sufficient multi-instrumentalist surrendered his auterist sensibilities, seeking creative alliances with Benoit Pioulard, D.M. Stith, Origamibiro and Esme Patterson. The results are scintillating. From the elegant minimalism of “Winds” (produced by Pioulard) or the exultant vocals of “Gloaming Light” (performed by D.M. Stith), these inspired partnerships take Fritch’s instrumentation and craft to new destinations, employ new techniques, and further it’s immediacy and appeal.

Fritch writes, “The record explores the psychology of revisionism: how we forget evil, distort it, skim past it, papering over those aspects of history we find uncomfortable.” This way the tense, physical, and oxidized “Infant Sight” lands like a blow to the gut: “Can I forget all these burns? Oh to see again with infant eyes, to revel in such virgin sights/ I am too tired to start looking again.” Fritch has gradually made a name for himself through his peerless ability to build strange, looming musical architecture, seemingly the Babel project of a dozen artists and processes, but indeed nothing more than the sound of one expert journeyman and his live acoustic instrumentation. His kaleidoscopic array of layered sound is still foremost, but now more than ever his savant’s orchestration serves the song structure, not the reverse.

Accompanying 'Revisionist' are two contrasting EPs that serve as illuminating appendices to its aural aesthetic. 'Heavy' and 'Empty' are raw and unfiltered explorations of the distinct contrasting elements at play in the LP. 'Heavy' showcases a dense and propulsive maximalism that marked so many of Fritch’s early recordings as Vieo Abiungo, but realized with the evocative production and ruddy, unkempt western sound pallet of his most recent work. While 'Empty' is a work of patience and restraint, a look forward in many ways to the expressive and dynamic power uncovered by simplifying and paring down his ambitious, large scale works. Together these recordings are a formidable display of craft and skill from a composer no longer stymied by his expansive range, but empowered by it.

Buy 

William Ryan Fritch - Heavy (from Revisionist)

You can pre-order 'Revisionist' here: https://losttribesound.bandcamp.com/album/revisionist

Or subscribe to the 10 album series from Fritch on Bandcamp,
http://losttribesound.bandcamp.com/album/leave-me-sessions-subscription-series-pre-order

Our website also has options for adding the Death Blues 'Ensemble' LP to the series and 3 or 5 monthly installments here: http://losttribesound.com/shop/wrfseries

'Revisionist', the latest record from composer William Ryan Fritch (Vieo Abiungo), brings an emphatic close to his incredibly prolific 2014. Just one month after the release of Death Blues 'Ensemble'—his powerhouse collaboration with drummer and new music ringleader Jon Mueller—Fritch has produced his most focused and dynamic work yet. Energized by the collaboration with Mueller (Volcano Choir), the otherwise self-sufficient multi-instrumentalist surrendered his auterist sensibilities, seeking creative alliances with Benoit Pioulard, D.M. Stith, Origamibiro and Esme Patterson. The results are scintillating. From the elegant minimalism of “Winds” (produced by Pioulard) or the exultant vocals of “Gloaming Light” (performed by D.M. Stith), these inspired partnerships take Fritch’s instrumentation and craft to new destinations, employ new techniques, and further it’s immediacy and appeal.

Fritch writes, “Our physical laws do not in fact generate anything. They serve only to describe regularities and consistent relationships in nature. I embrace the notion of there being no immutable truth, that in its absence is an endlessly nuanced and novel experiential universe which—by eclipsing our feeble processing—leaves us innervated, enthusiastic of our unknowing.” This echoes the aching shimmer of “Impostors,” in which he sings: “To hear the sounds that you thought to be true, twisted and out of tune/ you must force your heart and nerve and sinew to serve you long after they are gone.” Those of us who know Fritch from his explosive instrumental music will be startled by his fragile, supple voice, which glides and undulates over the compositions with melodious confidence, adding another compelling dimension to his ornate sound world.

He continues, “The record explores the psychology of revisionism: how we forget evil, distort it, skim past it, papering over those aspects of history we find uncomfortable.” This way the tense, physical, and oxidized “Infant Sight” lands like a blow to the gut: “Can I forget all these burns? Oh to see again with infant eyes, to revel in such virgin sights/ I am too tired to start looking again.” Fritch has gradually made a name for himself through his peerless ability to build strange, looming musical architecture, seemingly the Babel project of a dozen artists and processes, but indeed nothing more than the sound of one expert journeyman and his live acoustic instrumentation. His kaleidoscopic array of layered sound is still foremost, but now more than ever his savant’s orchestration serves the song structure, not the reverse.

The artwork adorning Revisionist’s deluxe vinyl art booklet is the work of celebrated Brazilian artist João Raus. His work Arachne depicts the Greco Roman myth of a great weaver who insulted and bested Athena with her great skill, only to have her work torn to shreds and be condemned to live out her days ever-weaving as a spider. Ruas’s work itself is ripped into ribbons and collaged into arresting imagery that beautifully complements and enhances the album’s unique musical amalgam.

Accompanying 'Revisionist' are two contrasting EPs that serve as illuminating appendices to its aural aesthetic. 'Heavy' and 'Empty' are raw and unfiltered explorations of the distinct contrasting elements at play in the LP. 'Heavy' showcases a dense and propulsive maximalism that marked so many of Fritch’s early recordings as Vieo Abiungo, but realized with the evocative production and ruddy, unkempt western sound pallet of his most recent work. While 'Empty' is a work of patience and restraint, a look forward in many ways to the expressive and dynamic power uncovered by simplifying and paring down his ambitious, large scale works. Together these recordings are a formidable display of craft and skill from a composer no longer stymied by his expansive range, but empowered by it.

Buy on LP/CD/Digital

William Ryan Fritch - In Denial (from Revisionist)

Poets

Head over to Son of Marketing who has interviewed Mute Forest and read more about what's coming here: http://www.sonofmarketing.it/intervista-anteprima-mute-forest-william-ryan-fritch-break-of-light/

The selection, "Break of Light" combines the talents of William Ryan Fritch (Vieo Abiungo, Death Blues) and Kael Smith (Mombi, Khale). LTS welcomes Smith to the family under his newest alias Mute Forest.  "Break of Light" will appear on an upcoming EP 'New Words for Old Wounds', a collection of collaborations, remixes, outtakes, and B-sides formed as part of the Leave Me Sessions Subscription Series.

You can subscribe to this series on Bandcamp,
http://losttribesound.bandcamp.com/album/leave…s-pre-order

or on our website, an option for 3 monthly installments is also available here: 
http://losttribesound.com/william-ryan-fr…ription-series/

Follow Mute Forest here:
Soundcloud: http://soundcloud.com/mute-forest
Facebook: http://facebook.com/MuteForest

Follow William Ryan Fritch here:
Website: http://williamryanfritch.com
Soundcloud: http://soundcloud.com/williamryanfritch
Facebook: http://www.facebook.com/williamryanfritch

Buy/Subscribe

Mute Forest & William Ryan Fritch - Break of Light

Part of the Music for Film Volume I which features select works of William Ryan Fritch’s  soundtracks, commissions, and multi-media works composed in 2014.

Hopeless Romantic

Buy Album: https://williamryanfritch.bandcamp.com/album/the-sum-of-its-parts

Award winning filmmaker/editor Fiona Otway's feature film The Sum Of Its Parts introduces some of the world’s foremost robot researchers alongside tomorrow’s future leaders in robotics. This film explores the messy front lines of the crusade to make robots part of our everyday experience. From initial sketches, to soldering wires, to programming actions and performing experiments “in the wild”, scientists, high school students, and artists obsessed with bringing robots to life are shaping a new era in our relationship with technology. Yet, by observing their successes and failures along the way, what becomes clear is that robots actually have a lot to teach us about what it means to be human. The Sum of Its Parts is a celebration of hands-on human creativity, and a contemplation of our deep need for connection and community as a source of meaning in our lives.

Its soundtrack, composed and performed by William Ryan Fritch, is a dynamic counterpart to the film's central themes and philosophical inquiries. The score's markedly organic instrumentation (string ensemble, french horn, vibraphone and prepared piano), is wrought into circuitous rhythms and patterns that hum, churn and grind with a mechanical steadiness that belies the achingly human and expressive compositions they propel.

The Sum of Its Parts

Gnashing Metals

Buy Album

William Ryan Fritch - Gnashing Metals (from The Sum Of Its Parts)

A hollow justice

Wheels - Jamie Cullum

"Comfort Me" is taken from "Prism", the forthcoming album on Preserved Sound by Western Skies Motel.

Comfort Me - Western Skies Motel

I'm so excited to be presenting you with the title track from my coming album. https://preservedsound.bandcamp.com/album/prism
This track is played using the 3rd bridge technique which basicly involves adding an extra bridge somewhere on the fretboard to transform the guitar into a 12 string harp. In this case that bridge is just a pencil. I hope you will enjoy!

A huge thank you goes out to https://soundcloud.com/hanklebury for igniting a flame by sharing his setup in this set of songs https://soundcloud.com/hanklebury/sets/in-the-artificial-mountains

Prism

Download "Mayflies" for Free on Bandcamp & Listen to the Dampener EP here:
https://williamryanfritch.bandcamp.com/album/dampener

Nils Frahm recently declared March 29th, "Piano Day" and in a strange coincidence, that exact day also happens to be William Ryan's birthday. Feeling inspired by this, Fritch compiled five very special piano led pieces. These pieces are a nice precursor to his upcoming album 'Music For Film Vol. I' 

For more information on Piano Day visit: http://www.pianoday.org

All songs composed, recorded, and mastered by William Ryan Fritch 
Recorded in his home studio in Petaluma, CA between 2014 - 2015 
Copyright William Ryan Fritch 2015 (http://williamryanfritch.com) 
Published by Settled Scores 2015 (ASCAP) 
Cover Photo by Joe Borreson (http://dustclouddesign.com)

Dampener

Mayflies

Buy EP

William Ryan Fritch - Mayflies (Piano Day)(From the Dampener EP)

I'm uploading this music solely to give more exposure to some of the artists I enjoy a great deal. If you have the legal rights to any of the music in the mix I put up and you don't want me to promote you, PM me and I will remove the files. 

If you like the music I post, support the artists and buy the music at Beatport, Juno, Bleep, Boomkat, Zero-Inch, eMusic or in your local music store. Support the artists, buy the merchandice, go to the shows and spread the love!

Billie Holiday vs La Ritournelle (Lulu Rouge Jass Edit)



Buy Infinity Pools EP: smarturl.it/buyipools

Debuted on Stereogum here: 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 (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 (gregoryeuclide.com)
Copyright 2015 Lost Tribe Sound (losttribesound.com)
Published by Settled Scores 2015 (ASCAP)


Mute Forest - Eat The Skin (from Infinity Pools EP)

Here is the first teaser track from something LTS has planned for one of the most overlooked and bad ass albums in our catalog, 2014's Graveyard Tapes - White Rooms.  

Keep your eyes peeled for more remixes coming soon.  Until then, this Mute Forest remix and the original version of "Sometimes the Sun Doesn't Want To Be Photographed" can be listen to and purchased here: https://gtapes.bandcamp.com/album/white-rooms

Artwork by Shawn Stephany

Graveyard Tapes - Sometimes The Sun...(Mute Forest Remix)

Rispah, the sophomore album by The Invisible and their first for Ninja Tune, is out now.

The album, "a love letter to grief” following the passing of singer Dave Okumu's mother, is imbued with an inevitable melancholy but defined by a sense of hope. Throughout, the band reveal their rich creativity and musicianship. Echoes run through these songs of African music (including beautifully-woven-in samples of the singers from Okumu's mother's funeral), psalm tones and devotional music, In A Silent Way-era Miles Davis, hints of minimal classical composers such as Steve Reich and the wilder more psychedelic end of hip hop and related electronic musics. 

Nothing is ever included for the sake of it, no attempt is made to patronise or sell the audience short. It's a record brimming with real emotion and restless intelligence, a record to get lost in. 

Rispah is out now in Europe (6/12 in North America) on CD and DL, buy at the Ninjashop (http://bit.ly/M7MTDh), Amazon (http://amzn.to/LD1ivp) and iTunes (http://bit.ly/KYowg2). A vinyl pressing of the album will be released 9 July.

Rispah

'The Stain'

Taken from Sébastien Tellier's album "Politics" : sebastientellier.bandcamp.com

Follow Sebastien :
facebook.com/sebastientellierofficial
twitter.com/SebTellier
instagram.com/sebastientellier

recordmakers.com 
twitter.com/recordmakers 
facebook.com/recordmakers
instagram.com/recordmakers

Sébastien Tellier - La Ritournelle

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.