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.

NICI NICE is a rising German DJ and producer who captivates audiences around the world with her unique fusion of melodic techno, hypnotic vocals, and indie dance. With each performance, she channels her deep passion for music into pure energy—transforming dance floors into spaces of freedom and connection.
Her journey has taken her across international stages, from underground clubs to major festivals, where she has built a reputation as an artist who creates unforgettable collective experiences.
NICI NICE has released music on 3000 Grad Records, Eye And Eye, and beyond—continuously expanding her discography with tracks that showcase her versatility and bold experimentation. Every release is crafted to take listeners on a journey of harmony, nostalgia, and movement, bringing their bodies and minds home.
For NICI NICE, music is more than sound—it is a universal language of connection, energy, and emotion. 
It’s NICE to be nice.

Booking requests worldwide:
🌎 jason@musicmodeagency.com
DEMOS: nicole.heinold@googlemail.com

DONE THAT 
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We're an artist management company, record label & music publisher with offices in Los Angeles and Sydney. Est 2014.
Hit us up: contact@futureclassic.com

Ben Howard returns with his 4th album, Collections From The Whiteout, produced alongside Aaron Dessner (The National). The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections. These are songs written from headlines scanned, or news stories scrolled past, providing inspiration for a selection of vivid narrative snapshots – the death of amateur sailor Donald Crowhurst (Crowhurst’s Meme); Russian fraudster Anna Sorokin (Sorry Kid); the man who stole and crashed a plane in Seattle (The Strange Last Flight Of Richard Russell); and the dismembered body a friend of his father found in a suitcase floating along the Thames (Finders Keepers). Alongside them, the personal anecdotes from the same scattered period living between Paris, Devon and Spain. Yussef Dayes features, as does Kate Stables (This Is The Kit), James Krivchenia (Big Thief), Kyle Keegan (Hiss Golden Messenger), and Dessner. Thomas Bartlett, St. Vincent’s go-to pianist, and Rob Moose, a long-standing arranger of strings for Bon Iver, are also present. Long-term guitarist to Ben’s band, Mickey Smith (A Blaze of Feather), remains a reassuring constant. It’s a sonic adventure that continues this nagging suggestion that Ben is one of the UK’s most inventive and naturally talented songwriters. CFTW is his latest opus, and arguably his most fully realised to date.

- Bookings Aus/NZ: harry@futureclassic.com.au
- Bookings UK/Europe: greglowe@theagencygroup.com / markbennett@theagencygroup.com
- Bookings USA / Canada: boche@billions.com / josh@billions.com
- Press: nat@theprfiles.com

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