Viernes 11 de Marzo de 2011

Dustin OʼHalloranLumiere

130701-FAT CAT

Even as a member of Dévics, Dustin OʼHalloran was already dedicating part ofhis time to composing pieces for piano solos that didnʼt fit in nor were theyadaptable to the song-based mentality he shares with Sarah Lov. Those primitiveworks had the usual Satie-esque background that can be found on most of thepiano records aimed at the indie audience, from Sylvain Chauveau to Nils Frahm,but what they didnʼt announce was the dawn of a complete composer, capable ofsurrounding his melancholic keystrokes with orchestrations as delicate as earlymorning fog. Dustin OʼHalloran could be heard on “An American Affair”, hissoundtrack score for the William Sten Olsson-directed film, and also on hiscontributions to Sofia Coppolaʼs “Marie Antoinette”. But what was really missingin his repertoire was a proper album with, apart from pianos, strings, harmonies andthe feeling that the music comes clothed with elegant sonic robes, not completelynaked. That record is “Lumiere”, and itʼs an album on which OʼHalloran finallycomes out as a great neo-impressionist and as a future composer of soundtracksfor big films. Michael Winterbottom should be on the phone already.

Among the nine delicate moments of “Lumiere” –on which the titles are numberedchronologically, like on his previous records: “Opus 44”, “Opus 43” and “Opus 55”;“Quartet N.2” and “Quintet N.1”– there are echoes of two old friends: MichaelNyman and Max Richter. Especially the first: what Dustin OʼHalloran takes fromRichter is the way of stealthily integrating the electronic textures between violinsand piano, as if they were a fine layer of rain in the distance or gauze before theeyes. They also share the simplicity with which the composite puzzles are solved:natural phrasing, arrangements without stridencies, always searching for the directemotional effect –although without tricks– and the descriptive utility. But there aremany parts on “Lumiere”, for example “Fragile N.4” and “We Move Lightly”, onwhich the Michael Nyman who wrote the scores for “Wonderland” and “TheClaim” comes peeking around the corner, the Nyman who transmitted a true pain,without feigning, and who was capable of stopping time on decisive momentsduring which it even seemed like respiration could halt. That sense of eternity,eternal sadness condensed into a single second, is the spark that breaks the heartwithout warning, and itʼs what springs from “Lumiere” when at times, for the fans ofneo-classical, it isnʼt absolutely necessary, though what comes after is.

Javier Blánquez

Dustin OʼHalloran goes fromthe solo piano to scores forpiano and orchestra with theworks of Max Richter andMichael Nyman in mind. Theresult is fragile and exciting, ofextreme beauty.

Tracklist1. A Great Divide2. Opus 443. We Move Lightly4. Quartet N.25. Opus 436. Quintette N.17. Fragile N.48. Opus 559. Snow + Light

Dustin OʼHalloran

1 Kanye WestMy Beautiful Dark Twisted Fantasy

2 Daft PunkTron Legacy

3 ShackletonFabric 55

4 Jon HopkinsMonsters

5 RobynBody Talk

6 BalagoExtractes D?un Diari

7 James BlakeJames Blake

8 VariosNight Slugs Allstars Vol. 1

9 LoneEmerald Fantasy Tracks

10 Demdike StareTriptych

11 GorillazThe Fall

12 Astrud & Col·lectiu BrossaLo Nuevo

13 Francesco TristanoIdiosynkrasia

14 T.I.No Mercy

15 ÚrsulaHasta Que La Soledad Nos Separe

16 Curren$yPilot Talk II

17 GangreneGutter Water

18 RihannaLoud

19 Jürgen PaapeKompilation

20 JónsiGo Live

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