William Ryan Fritch fans that have come late to the party are in luck: two of the folkloric contemporary classical composer's previous exclusives to subscribers of his 12-album Leave Me series are now available to those that missed them initially.
Both are from Fritch's extensive collection of music written for film, and contain some of his most distinct cues, which in album form are fleshed out into comprehensive pieces that stand on their own when absorbed in isolation from their visual catalysts.
As is the case with much of his music, The Sum of its Parts is constructed from organic instrument sources, relying on strings, French horn, prepared piano and vibraphone to convey a beautiful mix of swooning melodies sitting atop structures of cyclical, calculated repetition. It's a compelling, rousing listen whether or not you realize how cleverly the music supports the film's theme of integrating robotics into everyday life.
Old Believers has been extensively reworked since its initial release, most notably with the addition of eight new pieces. In contrast to Parts, Believers is comprised of a longer sequence of shorter cues which skew to the plaintive and wistful side, using delicate finger-picked acoustic guitar and slowly bowed, melancholy strings to support Fritch's always soul-stirring, magnificently fluid lead work on whatever assemblage of wood and wires he's coaxing to his purpose.
It's a rare quality to be able to produce such an immense volume of material that is so consistently rewarding and devoid of filler. With every piece of his musical puzzle uncovered, Fritch's tremendous body of work grows ever more unique and impressive in its impassioned construction and ever-expanding scope.
(Lost Tribe Sound)Both are from Fritch's extensive collection of music written for film, and contain some of his most distinct cues, which in album form are fleshed out into comprehensive pieces that stand on their own when absorbed in isolation from their visual catalysts.
As is the case with much of his music, The Sum of its Parts is constructed from organic instrument sources, relying on strings, French horn, prepared piano and vibraphone to convey a beautiful mix of swooning melodies sitting atop structures of cyclical, calculated repetition. It's a compelling, rousing listen whether or not you realize how cleverly the music supports the film's theme of integrating robotics into everyday life.
Old Believers has been extensively reworked since its initial release, most notably with the addition of eight new pieces. In contrast to Parts, Believers is comprised of a longer sequence of shorter cues which skew to the plaintive and wistful side, using delicate finger-picked acoustic guitar and slowly bowed, melancholy strings to support Fritch's always soul-stirring, magnificently fluid lead work on whatever assemblage of wood and wires he's coaxing to his purpose.
It's a rare quality to be able to produce such an immense volume of material that is so consistently rewarding and devoid of filler. With every piece of his musical puzzle uncovered, Fritch's tremendous body of work grows ever more unique and impressive in its impassioned construction and ever-expanding scope.