Staring Blind was formed in 2011 from members of several successful Brevard bands which include: Matt Carver (lead vocals) from M-Pulse and PRC-77, Willie Carrasco (bassist) of M-Pulse & Un4Sakn, Brandon Carrasco (lead guitar) of Un4Sakn and most recently Sam Calautti formerly of Special Blend.
In the relatively short time the quartet has been together they have had great success performing across Central Florida to packed venues and festivals. Most notably these include the 2012 & 2013 Cocoa Village Mardi Gras and downtown Melbourne's St. Patrick's Day festivals, two Melbourne Arts Festivals, and Daytona Bike Week.
The band has already written nearly two albums worth of original music and cut their first demo with Mark Brasel at The Zone Productions. They have recorded several songs at Brett Hestla Productions in Orlando FL and recently completed several more songs with Luke Beaulac at Evermore Sound in Orlando as well.
Brett has produced several gold record songs as well as being the front man for the bands Dark New Day & Virgos Merlot and the touring bassist for Creed. The songs have enjoyed great success so far and have been featured on WJRR 101.1fm's Native Noise, Atlanta GA's Real Rock 106.1fm, and several European & British internet radio programs. As well as being featured on this site, the bands music can be heard on Spotify, Reverbnation and purchased through Itunes or CD Baby.
The group is currently working on their first video project for the song "Black Arm" written for Lee "Black Arm" Noland who will be a contestant on an upcoming season of the Spike TV reality show "InkMasters"
Staring Blind was selected as the 2013 Featured New Artist for the 17th Annual Leesburg Bike Fest and recorded the song "Four Stroke Heart" (written exclusively for the event) with Luke Beaulac at Evermore Sound in Orlando FL.
Keeping the momentum high, the band was asked to perform several of their songs on the highly viewed Jacksonville, FL CW-17 television show "YourJax Music" which will air over the course of several episodes throughout the last part of 2013.
Most recently, Staring Blind took 1st Place against some incredibly talented artists in the initial round of the "Evermore Sound Battle of the Bands II" in Orlando FL.
On July 12th, 2014 Staring Blind was featured on CW18’s 3rd Season Premiere episode of “The Upbeat Dance Show”
The group plans to extend their touring range within the next year with the intention of performing another Armed Forces Entertainment tour for the military service members stationed overseas.

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.

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.

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