Dustin OâHalloranâs arresting debut release for FatCatâs 130701 imprint (a home for the orchestrally/classically-aligned composers attached to the label) is something of a departure from the two beautiful solo piano records that preceded it. Without compromising any of the magical wonder of either of those albums, on 'Lumiere' OâHalloran lends his vast talents to larger ensembles and a denser texture. Arranging - around his own piano work - string parts performed by New Yorkâs acclaimed ACME ensemble (Grizzly Bear, Owen Pallet, Nico Muhly, Matmos, Max Richter, Hauschka), OâHalloran also employs subtle electronics, guitar from Stars of the Lidâs Adam Wiltzie and violin from prodigious young composer / arranger Peter Broderick. The end product is a collection of miniature symphonies so heartbreakingly crafted that one could be forgiven for imagining the grandest scale film pieces or a master of classical composition at work.
Destined to pique the ears of fans of contemporaries Nico Muhly, Peter Broderick, Goldmund, Jóhann Johannsson (who, incidentally, mixed âLumiereâ with OâHalloran), not to mention the already-present 130701 staples: Sylvain Chauveau, Max Richter, Hauschka, 'Lumiere' is an orchestrally-aligned record free of rigidity or convention, a record that illuminates OâHalloranâs singular talent and vision.
A self-taught pianist from the age of 7, OâHalloranâs 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. Fittingly, âLumiereâ is full of those rare elements of life shared by both vibrant cities and lush countrysides â colour, both organic and rich, sensorial intrigue and a deep awareness of space, all delivered with an understated and sophisticated grace. OâHalloran writes of this record as a combined product of these environments and of the synesthete reaction of translating them into music â especially in terms of the new colours made available to him by writing for the larger ensembles. This approach yields moments of great beauty: the spectral violin harmonics and pure-toned piano lyricism of âWe Move Lightlyâ and the gentle, bellow-like string quartet breaths of âQuartet N.2â are just two examples.
OâHalloran compares this approach to visual art, especially in maintaining the synesthesia theme: âsomehow in composing I had always viewed the work similar to how a painter would approach it, adding colors, texture, adding space, painting over the whole thing and maybe leaving just a corner.â
âLumiereâ is a superb addition to OâHalloranâs growing catalogue and reputation. This release sits neatly alongside some great career highs already ticked off, including writing music for Sofia Coppolaâs film Marie Antoinette (2006) and William Olsenâs An American Affair (2010) and performing at New Yorkâs Guggenheim Museumâs Kandinskyâs retrospective for their 50th anniversary gala, and of course the two âPiano Solosâ albums released by Bella Union in 2004 and 2006 respectively.
Self-produced by Dustin over three years, in the various locations he has spent time during that period â New York, Berlin (at the ancient Grunewald Church, using their beautiful Boesendorfer piano), rural Italy (on another magnificent piano â a restored 1920âs Sabel) â âLumiereâ is a wonderful example of sonic richness and precision, even in the expansively textured peaks of the album. As aforementioned, mixing was handled by Jóhann Johannsson, and even fellow contemporary classicist Nils Frahm has an engineering credit.
Already an established live artist, having toured the US with Hauschka and sold out LAâs prestigious Getty Museum, OâHalloran will be performing across Europe, the UK and the US in support of âLumiereâ.