In the first in an occasional series bringing light to those that are responsible the physical release of music, I sent off some questions to Lost Tribe Sound boss Ryan Keane. Ryan is responsible for releases from William Ryan Fritch, The Green Kingdom, Graveyard Tapes, Western Skies Motel, Part Timer and others. There will be more reviews of the LTS catalog to come, but in the meantime please enjoy this interview.
Please introduce yourself. Why did you start Lost Tribe Sound? Did you have experience with music before starting the label? Is it a one man operation?
Hi DAF, thanks for taking the time to talk with me. I’m Ryan Keane, owner at LTS. Lost Tribe Sound originally started as a way for my buddy Andrew Sanchez and I to release the music we made as Tokyo Bloodworm back in 2007. After one self release we decided it was a better idea to release with a more established label, so we reached out to Andrew and Craig at Moteer to release our next two albums.
In 2009, I had the crazy notion I could take on releasing music from other artists. Enter William Ryan Fritch’s Vieo Abiungo project. And yes, I am technically a one man operation. Of course all the musicians, visual artists, and fans play a big part in keeping me busy. But I am the PR team, the art & video department, the packing & shipping division, manufacturing and the complaint department.
From the outside looking in you and William Ryan Fritch have a close relationship. How did you meet/come across his music? How important to Lost Tribe Sound is he?
William and I first met in Tempe, AZ where I was living at the time, he came down from Flagstaff to play a show that my musical project Tokyo Bloodworm was also scheduled to play. I ended up backing out of the show, but I’d become interested in his music from some of the samples online so I decide to attend. William and I hit it off almost immediately, discussing our similar taste in music for artists such as Muslimgauze, Manyfingers and Bonnie Prince Billy to name a few. At that point, I mentioned it might be fun to release some of William’s music he had posted from his experimental ethno-centric project Vieo Abiungo. It immediately struck me as the sound I had been hoping someone would create for years. Deep drums, modern classical elements, textured as hell, and it dipped in the realm of world music without coming off as cheesy or contrived.
It’s easy for me to say, that without William Ryan Fritch there would be no Lost Tribe Sound. He has definitely been the most crucial and central artist on our roster. His talents as a multi-instrumentalist are unparalleled. The rough-hewn and organic approach Fritch delivers on all of his releases, speaks so perfectly to the central vision I had for Lost Tribe Sound from the beginning. The fact that we still speak almost daily, and that he’s trusted LTS to release 26 of his albums since 2010, I realize is an unbelievable privilege. Fritch is my closest ally, a best friend, and the most talented individual I ever had the opportunity to work with. I always remind him he needs to remember the little people when he is famous one day.
You also do publishing/licensing with Settled Scores. How did this come about? Do you represent other artists than those on Lost Tribe Sound?
Settled Scores is the licensing arm of Lost Tribe Sound. It has been a slow burning project since 2013 or so, spawning from much of the work for film that William Ryan Fritch was bringing in. We expanded the licensing end to include other artists from the LTS roster and beyond in 2014, working with clients like GoPro cameras and an ever-growing list of indie film makers and forward thinking companies. Including the LTS roster, we represent catalogs for a select group of artists who approach making music in a similarly rustic and unique way. The goal behind Settled Scores is to show commercial, tv and film makers that we offer a great alternative the highly overused and often times drab music that seems to dominate the industry. I personally love seeing a high action scene set to music that is more contemplative and out of the ordinary, it adds a tension and interest to the shot, that no canned “action music” could even touch (example).
I’m hoping that more directors move in this direction, as there is a big beautiful world of experimental and extraordinary music out there that deserves their attention. Our Settled Scores roster outside of the LTS catalog currently includes works from Christoph Berg, Skyphone, Aaron Martin, James Murray, Anne Garner, Wickerbird, Glacis, Kyle Bobby Dunn and Mid-Wife to name a few.
What quality do you look for in a release for Lost Tribe Sound? Do you accept demos?
There is no set genre or style I hold a LTS release to. I am more attracted to the vibe and mood the music offers. Usually, LTS releases tend to be less electronic, with a focus on real instrumentation. Not to say they can’t feature electronic elements but it is more about the nature in which they are treated. I love music when it is hard to place a time or region it may have come from. Of course rustic, dark, pulsing blends of folk, classical and ancient sounding rhythmic oddities always hit the spot, yet I feel like we also managed to created our own intriguing take on pop, indie and rock music as well. I’ve tried to get in the frame of mind of gathering more seasons within the music, yet the winter and fall toned music always seems to have the biggest draw for me.
Not opposed to receiving demos if the artist has really checked out the music we release and really gets it. Most LTS releases come by way of a friend of friend type situation, but every now and then I come across an artist and fall in love, enough to reach out to them and see if they are interested in releasing on LTS. It’s just hard releasing all the music I enjoy on the label. Just because I like an album doesn’t mean it is the best thing to release on LTS. I have to really love it, usually listening to it over a period of month, to make sure the music stays with me emotionally. Running a small operation I have to be overly picky, since one or two poorly received physical releases can really make or break my budget.
How important is the visual identity of packaging and format to the label? It’s a pretty huge part of label. I’d say the artwork is the second most important part of the release, outside of the music sounding amazing and carrying the right impact. Keeping with the vibe of the music, most of the artwork we choose fits that timeless, rustic vibe I am a sucker for. Sometimes the artist brings the art to the table and other times, I get to work on the artwork and design from scratch. This happens to be my most favorite things I get to do running the label. We’ve had the chance to work with some of the most amazing visual artists over the years, like Joao Ruas, Gregory Euclide, Jamie Mills and Sail. They’re some of the most exciting illustrators and fine artists in the modern-day, so blown away by the depth and detail they bring to their art. I always try to treat each LTS release like a piece of fine art, from the cover design to the music within.
Sometimes I creating handcrafted packaging to give it the feel it deserves, hopefully coming off like a precious artifact. For example, the new panoramic CD editions for this year’s Prelude to the Decline (Subscription Series), I wanted to design a case that felt substantial and provided a much larger canvas for the artwork than standard CD packaging provides. I tested a lot of materials and different paper stocks in the design, also figuring out how the metal screws would work into the design. The end result feels and looks amazing, so hopefully when fans hold them in their hands they will get a sense of how much love went into them.
2017 is a pretty ambitious year with the great Prelude to the Decline series. Have you looked beyond the year or are concentrating on the releases from that schedule?
Many thanks for Ryan talking the time to answer my questions. You can find out more about the label via the following :