sounds

First Harvest

Cloud. Late May. 'Trails'. Deep Folk Mixtape 3.

Matt Kivel / Tetra
Joni Mitchell / Blue (Edited Acapella)
Tyler Ramsey / 1000 Black Birds
Mike Fekete / Birds on the Lake
Gem Club / Red Arrow (John)
Two Nice Girls / Kotton Krown
Shearwater / North Col
K-S.H.E. / Black is the Color of My True Love’s Hair
Brian Eno / Dunwich Beach, Autumn, 1960
Julie Byrne / Prism Song
Van Morrison / Into the Mystic (Take 11)
Tom Rush / Urge for Going
Terry Reid / Dream

Mixed with additional found sounds, field recordings, additional original synth, space echo.

This is a non-commercial, non-profit mix. If you like any of the artists featured, please seek them out and buy their music.

Ben Watt / Trails - Deep Folk Mixtape 3

'We Move Lightly' Taken from Dustin O'Halloran's 'Lumiere'

Buy Album Here: http://fatcat.sandbaghq.com/index.php/dustin-o-halloran-lumiere.html



Buy Album

Dustin O'Halloran - We Move Lightly

Summer Breeze

Kevin Morby
"My Name" 7"/DIG
Out Now: https://store.suicidesqueeze.net/
Release Date: August 5, 2014
Label: Suicide Squeeze Records
https://store.suicidesqueeze.net/
Label Instagram: @suicidesqueeze

ORDER

We Did It All Wrong by Kevin Morby

Line up :

- Composition / Main Mastering / Acoustic Guitars / Drums (Hydrogen software) --> @teargas-gale - majake@hotmail.fr

- Electric Bass / Piano & Keyboards arrangements --> @Sylbrock


Majake - We're Not Bad People [ Collaboration ]

https://sax1.ru/en
www.facebook.com/russiamusic
http://twitter.com/syntheticsax
http://soundcloud.com/syntheticsax
http://promodj.com/syntheticsax
www.facebook.com/syntheticsax
reverbnation.com/syntheticsax
http://vk.com/saxophonist
www.myspace.com/syntheticsax
www.youtube.com/syntheticsax
http://instagram.com/syntheticsax
www.dailymotion.com/syntheticsax

Free Download

Coldplay - A Sky Full of Star (Syntheticsax cover)

'Stars Collide' was written for the time-lapse film Iceland Aurora. More information here: http://bit.ly/1owY6qn

Stars Collid

Petur Jonsson | Stars Collide

Echoes of My Childhood: Minor Reflections” is a poignant composition that intertwines the nostalgic echoes of childhood with the melancholic tones of adulthood. This piece, performed with the Male and Forbidden Planet VST from the Alien movie, captures the bittersweet journey from innocent joy to mature reflection, creating a hauntingly beautiful soundscape.

Echoes of My Childhood: Minor Reflections

Museum Nights

Eighty-Eight Days

August (Luke Howard)

Music for piano.

Follow:

Spotify: https://open.spotify.com/artist/2pHCm7cvE0ADlPp68tScqW

Apple Music: https://music.apple.com/us/artist/steven-gutheinz/1421925543

SoundCloud: https://soundcloud.com/steven-gutheinz

Instagram: https://www.instagram.com/stevengutheinz

Bandcamp: https://stevengutheinz.bandcamp.com

Web: https://stevengutheinz.com

Near

Isle

Re: Better Now - Philip Daniel and Shawn Williams

'Reflection' has been used as the score to Luka Kellou's short film 'Je suis Là', which made it through to the finals of the 2014 Nikon Film Festival (http://vimeo.com/90820159)

Track taken from our debut release 'In Passing EP', available now via Bandcamp and iTunes.

http://stevegibbs.bandcamp.com/album/in-passing-ep
https://itunes.apple.com/gb/album/in-passing-ep/id669727687

Piano - Steve Gibbs
String arrangement & electronics - Cyrus Reynolds
Violin - Alanna Tonetti-Tieppo 
Viola - Oakki Lau 
Cello - Laura Hammonds

Buy This Track

Steve Gibbs & Cyrus Reynolds - Reflection

Alex Streliski - Plus Tôt / Felt Piano Cover

Nat Bartsch Trio's arrangement of Radiohead's tune, Motion Picture Soundtrack. From the Trio's new release, 'To Sail, To Sing'

Nat Bartsch - piano
Tom Lee - double bass
Daniel Farrugia - drums

Motion Picture Soundtrack - Nat Bartsch Trio

A self-taught pianist from the age of 7, Dustin O’Halloran’s personal histories give us some clue to the thickly-woven tapestries of his music: he has lived in LA (where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov), Italy (in the depths of rural Emilia Romagna) and Berlin. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression – and here is where we see some explanation into Dustin’s quiet rise to notoriety and his continued ascension.



Having gained serious recognition with his stunning score to Sofia Coppola’s 2006 film Marie Antoinette (which sits neatly alongside his soundtrack work for William Olsen’s An American Affair (2010) and Drake Doremus’ Sundance-winning Like Crazy (2011),



Dustin has quickly become one of the most recogniseable names in the broad-reaching “post-classical” field, a definition of the genre rather than vice-versa. Now sitting alongside peers and friends Max Richter, Hauschka and Johann Johannsson (who, incidentally, aided Dustin in mixing his newest album) on FatCat’s dedicated orchestral imprint 130701, new album Lumiere is a glowing addition to O’Halloran’s musical canon, at once an amalgamation of everything that his music has been leading up to, and an unprecedented step forwards in terms of timbral palette and harmony. Featuring NYC’s ACME Quartet, Stars Of The Lid’s Adam Wiltzie and prodigious young composer Peter Broderick among the guest musicians, the scale of Lumiere is expansive: “it made me realize how important it is to find players that truly understand what you do and to create a language with them,” writes Dustin.



Dustin’s rock background - primarily with Bella Union’s “dream-pop” outfit Devics – has yielded an unassuming, perceptive approach to composing modern classical pieces. Inspired by, among others, Arvo Part,  Philip Glass, Hans Otte, John Luther Adams, Olivier Messiaen, Ennio Morricone, Gavin Bryars, there is no lack of articulation or academic musicality in Dustin’s work, but there is also none of the aloofness or detachment that is so readily perceived around contemporary classical music. This can perhaps be attributed to the environments in which Dustin has worked - Lumiere is full of those rare elements of life shared by both vibrant cities and lush countrysides: colour, both organic and rich, sensorial intrigue and a deep awareness of space. Or perhaps it is a product of Dustin’s synaesthesia, a condition he first noticed around the time of his performance at New York’s Guggenheim Museum for their Kandisnky retrospective and 50th anniversary gala. Able to visualize his compositions as vividly as a painter might see his own work, Dustin’s expressiveness is beyond compare.



Lumiere will be Dustin’s third solo full-length, following Bella Union albums released in 2004 and 2006 respectively (Piano Solos vol. 1 and Piano Solos vol. 2). These two records were originally opportunity for Dustin to express a non-Devics creative streak: gently and privately pieced together piano suites written and recorded on a beautifully-restored 1920’s Sabel piano in his Italian farmhouse. The compositions, however, gradually grew into fully-formed solo pieces as Dustin’s ambitions and designs developed. The path, of course, would eventually lead him to Lumiere’s majestic, swooning ensemble arrangements and a focus-shift away from the piano as his work’s primary timbre without losing any of the affection for the instrument that bore his first two records.



A sublime solo live album - entitled Vorleben – will be released by FatCat / 130701 in June.

Museum Nights

Dustinohalloran

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