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I am somewhat of a music veteran, a former lazy apprentice organist who fell in love with synthesizers during the golden age of the JX-3P, DX7, and other Poly-800. But above all, I am passionate about sound in all its forms and mixing.

The wonderful world of computer-aided music, which I discovered when the Atari ST was launched, became a passion for me.

It was Pro 24 and Cubase that allowed me to hone my skills, long before I explored Pro Tools, Logic, and, more recently, Studio One and Bitwig.

The universe of Fãlherilh was born from a blank page in 2022. What began as merely an embryonic and experimental idea has, through the writing of the first three chapters, become a living and teeming world.

Every melody composed acted like a stone added to the edifice, enriching the geography, traditions, and destiny of its inhabitants. Conversely, all the work carried out on this universe progressively inspired my music.

What you discover today is the result of an organic creation, where music, narration, and visuals intertwine to give birth to a constantly expanding reality.

Through the chapters of this saga, you will discover the republic of Takkanor: from the majesty of the Moonlit peaks to the bustling ports of Staoslam city and Port franklin, passing through the forests of Raydown and Bargus. You will follow the destinies of characters with intersecting paths—sailors, warriors, merchants, or travelers—whose lives are swept away by the currents of adventure, tragedy, or friendship.

But what you hear, read, and see in The Journey, Lostblood and Forgotten Stories, is only a part of the story. What the sounds, images, and words reveal to you is merely the surface of a much vaster and more complex world.

At the beginning of the summer of 2022, I embarked on a very experimental project, with no real purpose other than to explore musical genres that I had never practiced before. From June to August, 4 tracks emerged.

If the first 4 tracks allowed me to imagine the world to which they referred, the creative process almost immediately reversed.

Indeed, as I imagined the story of the two brothers and the crew of sailors, I now composed the tracks to set their adventures to music.

In January 2023, the storyline was finally complete, but the album still only consisted of 13 tracks for a total duration of about 41 minutes.

"The Journey" draws much of its musical inspiration from the world of video games.

But also in film music, progressive rock, electronic music, or, more broadly, in pop culture. I have been influenced by all kinds of music since my childhood. This variety matters.

If I had to remember just one influence, it might be the extraordinary work done by Jeremy Soule a few years ago in his compositions for the games "The Elder Scrolls" and "Guild Wars".

I do not consider this as a direct influence, I never thought about it during the album's conception. But it is an absolute reference in how I approach these musical adventures.

From the beginning of the album production, I didn't want to create something that was 100% electronic (only using synths) or 100% pseudo-classical (only using orchestral libraries or acoustic instruments).

What interested me was the fusion of these two worlds, the way they wove together. This guided my work on every track.

In the end, the album was mixed and mastered "in the box," in my home studio.

During the mixing process, I sought to find or preserve a balance so that the different types of sounds mentioned earlier could blend harmoniously. I also like to talk about fusion.

It was before the summer of 2023, when the framework and structure of "The Journey" were completed, that I envisioned the main outlines of the story's sequel, which would take the form of the second chapter.

In the spring of that same year, I composed my first track, "Lostblood," during the period of arrangements and instrumentation for Chapter 1. At that time, I envisioned it as the main track of the album, for which I had a general idea but no concrete structure that could be translated into tracks.

As I continued working on "The Journey," I composed four more tracks until the summer of 2023.

It was only at the very end of this year that I started the bulk of the composition work, with the realization of the album's structure. This composition work mainly extended until the end of summer 2024.

Finally, the final phase of arrangement, instrumentation, and then mixing only truly began after the release of "The Journey," at the end of 2024.

In terms of production, direction, and mixing, "Lostblood" logically follows in the footsteps of "The Journey," but with a natural evolution of the processes implemented.

While the album is still mixed and mastered "in the box," it nevertheless contains significantly more content produced with non-software instruments.

This is still the case for all the bass parts and some vocals. But for the first time, I also recorded a handful of guitars!

The outline for Chapter 3 quickly formed in 2025, while I was finalizing the production of "Lostblood." My premise started with a very simple observation: with 25 tracks running nearly 80 minutes, Chapter 2 felt incredibly dense. It would have been impossible to add any elements that deviated from the central storyline—Tyler's return to Lienwood.

However, I wanted to tell more.

First of all, I wanted to reintroduce certain characters from "The Journey" after The Vengeance returned to Staoslam city, running parallel to Tyler's epic journey. With the exception of the Becker brothers, only Adil is present in Chapter 2. What happens to the ship and its other crew members while Tyler crosses Takkanor?

Next, I wanted to add some narrative elements connected to what happened in the first two chapters and sketch out what could happen next.

Lastly, I had made a commitment to myself from the beginning to release a shorter album succeeding "Lostblood". I promised everyone: "No more than 15 tracks!" Spoiler alert: I failed.

Chapter 3 was also produced "in the box", using various hardware and software instruments.

It remains very close to the first two albums in terms of my workflow, but I wanted to evolve my way of arranging and mixing the tracks.

For the arrangements, I decided from the very beginning to impose limits on the number of instruments used. I wanted to achieve something rawer. The initial thought was quite simple: "What if I had to record the album on a 24-track tape machine?"

Additionally, this album gave me the opportunity, for the first time, to work with Bitwig Studio. Five tracks were entirely produced using this powerful, flexible, and highly creative software, which will likely become the technical foundation for much of my future productions.

The music:

I do not use any generative artificial intelligence processes in the composition, arrangement, or mixing of the musical adventures.

Everything you hear is composed, arranged, mixed, and "mastered" by a simple organic intelligence—that is to say, a brain assisted by a pair of hands... and two ears, of course!

The visuals:

The same applies to the illustrations created with Blender that accompany my music and this website.

The texts:

Everything has been imagined and written by hand. However, I have since fed the entirety of the lore into a local LLM—meaning all the public content of the site, enriched with everything that is currently "hidden." This LLM serves me to experiment, analyze, synthesize, and extrapolate all sorts of elements and concepts.

It helps me, for example, in writing the chronicles, stories that enrich what is told in the albums. It is simply an incredible aid, without ever substituting for the creative process itself.

I do not use anything related to generative artificial intelligence in the composition, arrangement, and mixing of the musical adventures.

Everything you hear is composed, arranged, and mixed by a simple organic intelligence—that is to say, a brain assisted by a pair of hands!

This is also the case for the texts and illustrations created with Blender that illustrate my music.