Revisionist by William Ryan Fritch

Available on CD, and vinyl LP presented in a bound jacket alongside matte printed artwork limited to 300 copies. William Ryan Fritch pushes his highly cinematic blend of modern classical and world music which, in a strange way, is simultaneously pleasant and overbearing. Suits the Lost Tribe Sound label down to a T!  

Limited CD £9.49

CD on Lost Tribe Sound.

  • Limited edition
This item is in stock and can be dispatched immediately.

Vinyl LP £35.99

Ltd LP on Lost Tribe Sound housed in a deluxe bound vinyl book jacket with matte printed artwork. Edition of 300 copies. Also includes full FLAC/320 MP3 downloads and Empty & Heavy EP downloads!.

  • Includes download code
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Revisionist by William Ryan Fritch
1 review. Write a review for us »
7/10 Robin 29 January 2015

Contemplating the complete and utter transience of all things that exist, William Ryan Fritch crafted ‘Revisionist’, a tribute to our ever-changing bodies, our randomly sculpted thoughts and our tireless attempt at living in a straight line. The result sounds kind of like the apocalypse, I think; drawing on neo-classical, Constellation brand post-rock and some electro-acoustic goodness. Whether he likes it or not, he’s created that big, orchestral music that stabs the heart so happily.

Fritch’s work hasn’t been this grandiose for a long time, piling on a patchwork of urgently taking off strings and shimmering percussion that lays the groundwork for bold, terrifying crescendos. Claiming to be tired of specific genre types -- particularly ambient and minimal, which he sees no completion or conclusion in -- his work takes on broad narrative strokes, with those sounds being utilised for something with more scope and story. “Winds” piles on droning sounds but then Fritch’s crooning voice intervenes, introducing a sense of time and place through melody. It’s the kind of grand gesture that is constantly finding its way onto his compositions; just as “Heavy” starts with bristling plucks that recall Andrew Bird before firing shots of industrial percussion. It’s all about making the earth we live on sound epic and intense -- he kind of beat himself to the punch with Jon Mueller’s Death Blues which he was a major part of, but this record still squeals with every swell.

Dude should have made an EP, to be quite honest: the fluttering sounds of this record are overwhelming, and each track feels like it’s own sonic blockbuster, streaming out different ideas in metric tonnes. “Unholy Frames” mixes a sentimental intro of Sigur Ros proportions with field samples and tries to fit a pop rock song somewhere in the middle; it’d make a very good single, and strangely good advert music, but as the centrepiece to this musical epic poem, it feels both out of place and like too much. What Fritch has made is undeniably gorgeous and is assembled in a unique way -- the interpolation of acoustic instruments with pure, incidental sounds is sublime -- but in this format, it sounds like a cosmic step too far. Ultimately, though, it doesn’t matter -- swim with the tide, and feel forever changed.



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