One’s got to love someone whose family name’s pronunciation sounds like a truncated version of your own. Seriously, this is one of the many “first meetings” reported on these pages, in this circumstance with a cellist and composer who’s also a rare case of academically trained yet open-minded musician (punk is a part of her DNA) and human being (check her thoughts here) but, for some reason or another, hasn’t broken the ice of an inadequate visibility to date. String Theory should definitely help in achieving the goal thanks to its brilliantly multifaceted restraint. On the one hand, Ritch wanders across the galaxy of spectral-motionlessness-cum-throbbing-pulse, remaining there for long moments of magnetic sine wave-induced stasis (“16 Days”). On the other, the classic expertise of this inquiring mind emerges in “Sonata De Kinor – 1st Movement”, a soloist piece replete with echoes from a past age without romantic saccharine. In the middle of silence stands “Duo For Solo Cello”: “delicately strong” music halfway through timbral x-ray and very essential study of melodic collapse, confirming the validity of this woman’s talent which you’re strongly urged to further authenticate by downloading the album (it’s free!) and telling me that I was right (as always, haha).