I'm not active here anymore but thank you for listening if you end up here<3

⬙⬙Hazy Ambient Playlist⬙⬙
https://open.spotify.com/playlist/5uqKfYq4LEq7Oj29Zrn4wv?si=WCSw_8SpRfOeb3h-1Gpeow

[2010-2016] Music to continue what is lost. /// &#13; &#13;
Moon was full here every night. Federleicht was the heimat of belgium ambient artist 'Herbstlaub' who also worked  under the monikers 'die Nachtstunde' and 'This is where we Sleep' (collab). Herbstlaub is more instrumentally rooted and sounds more ambient while die Nachtstunde has explicitly more beats, minimal and dub influences. &#13;
FDL.BE was intended as a platform to release this varied work on and as a central reference point to get in touch with these various releases.&#13;
Most releases are limited, but mostly you can download them for free: <a href="http://www.federleicht.be" rel="nofollow" target="_blank">www.federleicht.be</a>&#13;
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2016
Herbstlaub - This is soon too late 
Herbstlaub - Seems Like Time To Remember, Seems Like The Moment To Forget

2015&#13;
Herbstlaub - New Insights From Forgotten Clouds, New Hints From Forgotten Memories.

2014&#13;
Herbstlaub - Hauch 12"&#13;
Die Nachtstunde - Flüstern macht gemeinsam&#13;&#13;

2013&#13;
Herbstlaub - Our Love Was Only Half Forgotten&#13;
Die Nachtstunde - Dreifarbenwelt (Entropy Records, EL.018)&#13;
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2012&#13;
Herbstlaub - Streets Aren't For Dreaming Youth&#13;
Herbstlaub - Remnants [Entropy Records]&#13;
Herbstlaub - This Grace Is Only Reaching Out To Surrender &#13;
&#13;
Other Heights - As We Are [remix]&#13;
Herbstlaub - Oostmalle Airport [ASIP008] &#13;
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2011 &#13;
Herbstlaub - Per Sonare [Other Heights]&#13;
Herbstlaub - Zwischenwelt&#13;
die Nachtstunde - Klangwandler&#13;
Herbstlaub - Dämmerleben&#13;
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2010&#13;
Herbstlaub - Sonnewende&#13;
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Thank you.

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.

Valotihkuu is the sound of light seeping through the foliage, captured on magnetic tape. A fragile collage of field recordings, wobbly synths, and timid melodies drawing inspiration from childhood memories and fleeting moments in nature

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

Since 2006, true to its motto “Easy music, for the hard to please,” InFiné is a European label orchestrating sonic utopias where genres collide and hybridize. Here, techno reinvents itself in philharmonic halls, pianos spin through space, and electronica carries traditional music into the unknown.
With roots in both Paris and Berlin, the independent label InFiné is a rare space that embraces the unfamiliar and builds a legacy for the future. It is a refuge that refuses to choose between intellect and sensuality, and believes in the urgency of “the necessity of being.”
It brings together a global community of artists for whom creating is an act of resistance—a committed vision for sustainable music, in service of diversity, innovation, and artistic freedom.
Among the label’s emblematic artists are Rone, Deena Abdelwahed, Vanessa Wagner, Blick Bassy, Léonie Pernet, Bruce Brubaker, UTO, Gaspar Claus, François & The Atlas Mountains, and Kaito.

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