Авторы текста и музыки.

Lumiere ‎(LP, Album). His album was later featured in Headphone Commute's Best of 2010 : Music For Watching The Snow Slowly Fall In The Moonlight. So when I heard that his newest album, Lumiere, was to be released on FatCat's post-classical imprint, 130701, I wasn't even surprised. It's where O'Halloran belongs. With nine beautiful pieces, spanning a 43 minute album, O'Halloran pours his heart and soul through the delicate piano keys, making love to the music, the instruments, and my mind.

Album · 2012 · 9 Songs. More By Dustin O'Halloran. See All. Piano Solos Vol. 2. 2004. Lion (Original Motion Picture Soundtrack). Like Crazy (The Score).

In a time when musicians from These New Puritans to Peter Broderick and Sylvain Chauveau thrive, little wonder that O'Halloran has found his own context. O'Halloran's piano-only pieces have all the direct beauty one could want, with such compositions as "Opus 44" embracing the solitary approach with gentle passion. The selections with further arrangements, as with the opening song, show O'Halloran's work in a more distinct light, bringing out a ghostly, melancholic glow.

A Great Divide, 06:18.

1. A Great Divide Lyrics. Featuring Adam Wiltzie. More Dustin O'Halloran albums. The Hate U Give (Original Motion Picture Score). Like Crazy: Music From the Motion Picture. Show all albums by Dustin O'Halloran.

Dustin J. O'Halloran (born September 8, 1971) is an American pianist and composer. O'Halloran composes scores for film and TV, and forms half of the collaboration A Winged Victory for the Sullen. O'Halloran was born in Phoenix, Arizona, and spent most of his childhood in Hawaii and Los Angeles. While studying art at Santa Monica College, he met singer Sara Lov, with whom he founded indie rock band Dévics in 1998

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Lumiere, the arresting new album from Devics' Dustin O'Halloran his first for FatCat's 130701 imprint - represents a departure for the LA-born, Berlin-based composer.

O’Halloran is here aided by the ACME ensemble of New York, a troupe whose string contributions have lent depth to recent recordings by Grizzly Bear and Owen Pallet. But while there’s more happening in the mix, like the pianist’s solo arrangements, everything feels streamlined – linear, maybe, but only when the end is worth skipping the diversions for. There’s always a destination at the forefront of O’Halloran’s compositions, and the joy comes from the journey itself, rather than the rest-stops or spot-the-whatever motorway games