Hello, yesterday i was looking forward to a great sportsday what a disappointment awaited me. De big final Giro moutain stage was turned into a fart by Astana, when the final ascend arrived Dumoulin tried several times to get away but each time Froome reconnected, poor Tom,. lack of insight by his team Sunweb cost him this Giro yesterday. The Monaco Grand Prix then, Verstappen qualifying last after Red Bull couldn't fix the car he crashed 4 min from the end of the 3rd and final training whilst being fastest...duh. What odds Max reaches the finish tomorrow, having to overtake all these cars on the Monaco streetcircuit, i'd say none, meanwhile teammate Ricciardo has no real worries as only Vettel could stay somewhat in touch.
Then there were two big finals, the biggest one a 170.million pound game where the winner got it all , that 'bonus' money goes to Fulham promoting to the Premier League. Then there was the Champions League final and as usual Real had the referees fast asleep, that dirt bag Ramos managed to take out Liverpool's starplayer Salah by what very clearly was a take out, in a fightsport grip and delibrated falling with his full body weight on the entangled arm, dislodging or possibly breaking Salah's arm. The refs had seen nothing...mission accomplished not even 25 min on the field, poor Salah. After Liverpools keeper Karius managed to score a bizarre own goal off a player who was offside, i had enough and switched channels, the Madrid criminals had won again....
Today's artist was born September 8, 1971, in Los Angeles, California, USA was an foley artist of Rugrats, and All Grown Up!. A self-taught pianist from the age of 7. 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. He gained recognition and critical acclaim for his studio albums and live performances. Dustin's score to Sofia Coppola's 2006 film Marie Antoinette also earned him a tentative step into soundtrack work, which has since bloomed into a reputable and highly creative path of film composition. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression ....N'joy
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American post-classical pianist and composer Dustin O'Halloran (born September 1971) began his musical life a guitarist. He has claimed in interviews that he didn't really begin to study the piano in earnest until he was in college and studying music. While attending Santa Monica College, he met Sara Lov and started the band Dévics. The quartet released four albums and six singles on Bella Union between 1998 and 2006. O'Halloran began to take the piano seriously while with the band, and then in formal music studies in both Italy and Berlin. He released his first two albums, entitled Piano Solos and Piano Solos 2 on Bella Union in 2004 and 2006, respectively. During the latter year he was given the opportunity to score filmmaker Sofia Coppola's film Marie Antoinette. In 2009, he composed the score for director William Olsen's An American Affair, which was released on the Filter imprint. In 2010, he scored director Drake Doremus' feature Like Crazy (which won an award at the Sundance Film Festival in 2011). Lumiere, his debut album for Fat Cat's orchestral 130701 imprint, was issued in February 2011 to stellar reviews. It featured O'Halloran's piano in a slightly more populated sonic field that included other musicians like the ACME Quartet, Stars of the Lid's Adam Wiltzie, and fellow composer Peter Broderick. This was followed by a live solo piano recording, Vorleben, on the same label in June of that year. Three months later, he and fellow classical/film composer Adam Wiltzie made their debut as A Winged Victory for the Sullen they released two albums, A Winged Victory for the Sullen (2011) and Atomos (2014). The latter is also the original score for the identically titled dance piece by choreographer Wayne McGregor and his company Wayne McGregor Random Dance. In 2015, they were invited to perform at the Royal Albert Hall in London as part of the BBC Proms. The duo scored their first film together in 2016, entitled In the Shadow of Iris by French director Jalil Lespert.
In the meantime, demand for O'Halloran's film scores increased, and Milan released his soundtrack for the 2013 drama Breathe In. In 2014, he landed a regular gig on the Golden Globe-winning web series Transparent, starring Jeffrey Tambor. He won an Emmy for its theme music in 2015. Among other film and television work in the months that followed. In 2016, O’Halloran collaborated with Hauschka on the score for the Oscar-nominated film Lion. The score of the film was nominated for many major awards including the Academy Awards, Golden Globes, BAFTAs and Critics’ Choice Awards.
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Two 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 creative streak unexplored by Devics songwriting: 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. One of the ultimate pure piano albums, incredible mastering and straight on sound from the instrument. Makes this a deeply soulful album, does that work saying soulful for a piano? This has soul! It's a ringing bell from an old church tower reverberating over the countryside waking up the tingling sensations for all keyboard lovers. Get comfortable for a close and personal listen or turn up the volume so it fill your house and play this album. It's is minimalism perfection.
Dustin O'Halloran - Piano Solos 1-2 (flac 285mb)
01 Opus # 12 3:09
02 Opus # 13 2:46
03 Opus # 9 3:29
04 Opus # 14 4:13
05 Opus # 16 4:39
06 Variazione Di Un Tango 4:31
07 Opus # 7 3:44
08 Opus # 15 2:11
09 Opus # 11 2:01
10 Opus # 17 3:52
11 Opus # 18 3:14
12 Fine 1:56
Piano Solos vol.2
13 Opus 20 7:13
14 Opus 22 2:35
15 Opus 21 3:59
16 Opus 23 3:29
17 Opus 26 3:16
18 Opus 34 4:04
19 Opus 28 4:23
20 Opus 35 4:58
21 Opus 30 4:08
22 Opus 38 6:43
23 Opus 37 5:22
Dustin O'Halloran - Piano Solos 1-2 (ogg 161mb)
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Starting with the quiet chimes and swirls of synth texture and drone of "A Great Divide," Dustin O'Halloran on Lumiere creates a world of contemplative, post-classical elegance. 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. "Opus 43," seemingly straightforward in its piano/quartet arrangement, emphasizes careful use of space while also permitting a little rush of playful energy at one point. "We Move Lightly," with its simple but effective solitary violin in the second half of the song, further contrasts with the full string section performance of "Quartet N. 2," eschewing the then constant piano work on the album entirely. Perhaps "Fragile N. 4," its appropriate name denoting the soft blend of piano, strings, and what could almost be a music box melody at one point, is the album's high point, a quietly sweeping number that feels like it could end one of the sweetest movies ever made.
Dustin O'Halloran - Lumiere (flac 174mb)
01 A Great Divide 6:19
02 Opus 44 2:48
03 We Move Lightly 3:10
04 Quartet N.2 3:13
05 Opus 43 6:30
06 Quintette N.1 5:12
07 Fragile N.4 3:30
08 Opus 55 6:05
09 Snow + Light 6:34
(ogg mb)
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While it is an unlikely pairing in terms of style, it isn't an error to say that it was Keith Jarrett's now legendary Koln Concert and subsequent solo piano recitals that made albums like Dustin O'Halloran's Vorleben possible. While Jarrett's pieces were improvisations and these are composed pieces -- most of them appeared on his first two studio recordings of piano solos -- there are similarities in terms of presentation. Jarrett chose his location and piano carefully as did O'Halloran here. The acoustics in Grunewald Church and its piano are as much a part of this recital as the pianist's technique in performance. O'Halloran is from the new emerging school of composers that includes Max Richter and Nils Frahm, who create intimate atmospheres where emotion, space, lyric harmony, and restraint are part and parcel of the compositional framework. O'Halloran is an accomplished pianist; his technical acumen is evident from the first bars of the previously unreleased "Opus 54," with its traces of Debussy and the more skeletal meditations of Scriabin. The sound of the piano -- its pedals and hammers clearly evident on much of this -- adds heft to the feeling of intimacy on this recording. Always meditative -- though far from minimal -- emotions pour from the pianist; they evoke sorrow (he learned his grandmother had passed away moments before he took to the stage), romanticism, and ethereal, atmospheric euphoria (the beautiful sense of repetition in "Opus 28"). The gentility of Satie's Gnossienes is evoked in "Opus 17." In addition, O'Halloran has become an in-demand film composer, and this work is illustrated best in "Prelude N. 3." Part of what makes the listening experience of this recording powerful in its deliberate, elegant unfolding, is that the recital holds no pauses between its selections, and audience applause is held until the very end of the disc. The pieces' immediacy is pronounced and gently assertive. Vorleben (a German word that translates as "past" or "past life" depending on its usage) provides an excellent introduction to the solo work of O'Halloran, as it's a 32-minute best-of with some new pieces included. It adds exponentially to the flavor in the studio solo records emotionally, without ever becoming maudlin or manipulative.
Dustin O'Halloran - Vorleben (flac 156mb)
01 Opus 54 4:36
02 Opus 7 3:17
03 Prelude N.3 3:47
04 Opus 21 3:49
05 Opus 15 2:56
06 Opus 28 3:18
07 Opus 17 1:58
08 Opus 23 2:58
09 Opus 38 5:49
10 Opus 37 3:48
(ogg mb)
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Dustin O’Halloran is scoring the indie drama Now Is Good. The film based on a novel by Jenny Downham is written and directed by Ol Parker (Imagine Me & You) and stars Dakota Fanning as a seventeen year old girl diagnosed with a terminal illness who resolves to live her life on fast forward and falls in love with her new neighbor. Now is Good ia one of the most amazing film scoresn If you haven't seen this film or read the amazing novel Before I Die, I highly recommend both!
“The Beauty Inside” is a 2012 social film developed by Intel and Toshiba. It’s Intel and Toshiba’s second social film since releasing Inside. Directed by Drake Doremus and starring Mary Elizabeth Winstead and Topher Grace, the film is broken up into six filmed episodes interspersed with interactive storytelling that all takes place on the main character’s Facebook timeline. It’s Hollywood’s first social film that gives everyone in the audience a chance to play the lead role throughout the story. My friend Jorn Tillnes, the Soundtrack Geek recommended me Dustin O’Halloran’s score and I am excited to hear it.
With some scores there is love at first hear. I don’t need more than a few seconds to know that “The beauty inside” I a composition written along the paths of my soul. The minimalistic and slightly electronic start, almost chip tune like, and the permanent shadow of sweet melancholy the opening cue “New day” offers is like sampled from inside me. Hope and nostalgia go hand in hand and turn this musical canvas into my favorite hoodie, my most comfortable and familiar article of clothing.“The beauty inside” couldn’t have been a more appropriate title for the music. The composer turned his magnifying glass towards the inside and wrote an honest and intimate score that wouldn’t work outside the confines of a soul. The musical thread is too fragile and precious to be exposed to the outside world. The piano wears a quiet smile and tells its own story, simple, intimate and full of love. When it’s not the piano, the electronic keyboard and chimes take over and the effect is just as magical.
Dustin O'Halloran - Now is Good + The Beauty Inside (flac 221mb)
01 Mirror 0:31
02 Bonfire, Curiosity 1:22
03 Wings 1:00
04 In The Forest 3:38
05 Butterflies 0:48
06 In The Night 1:00
07 Snow Angel 1:19
08 Moments 0:39
09 All Things Must Fall 4:19
10 Write My Name 1:04
11 Another List 1:00
12 Carry Me 2:50
13 No Time 0:58
14 Star Kiss 1:17
15 Destroy 1:46
16 While You Sleep 0:49
17 Snow + Light 5:34
18 All That You Leave Behind 1:10
19 Tessa 2:15
Dustin O'Halloran - The Beauty Inside
01 New Day 01:16
02 Alex's Theme 01:01
03 Antiques 02:39
04 Lonely Hearts 01:24
05 Not My Own 01:08
06 Museum Nights 02:02
07 Static Longing 01:02
08 Leah 01:59
09 Antiques And Heartbreak 01:15
10 Lost And Found 01:50
11 Home 02:40
Dustin O'Halloran - Now is Good + The Beauty Inside (ogg 107mb)
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Then there were two big finals, the biggest one a 170.million pound game where the winner got it all , that 'bonus' money goes to Fulham promoting to the Premier League. Then there was the Champions League final and as usual Real had the referees fast asleep, that dirt bag Ramos managed to take out Liverpool's starplayer Salah by what very clearly was a take out, in a fightsport grip and delibrated falling with his full body weight on the entangled arm, dislodging or possibly breaking Salah's arm. The refs had seen nothing...mission accomplished not even 25 min on the field, poor Salah. After Liverpools keeper Karius managed to score a bizarre own goal off a player who was offside, i had enough and switched channels, the Madrid criminals had won again....
Today's artist was born September 8, 1971, in Los Angeles, California, USA was an foley artist of Rugrats, and All Grown Up!. A self-taught pianist from the age of 7. 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. He gained recognition and critical acclaim for his studio albums and live performances. Dustin's score to Sofia Coppola's 2006 film Marie Antoinette also earned him a tentative step into soundtrack work, which has since bloomed into a reputable and highly creative path of film composition. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression ....N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
American post-classical pianist and composer Dustin O'Halloran (born September 1971) began his musical life a guitarist. He has claimed in interviews that he didn't really begin to study the piano in earnest until he was in college and studying music. While attending Santa Monica College, he met Sara Lov and started the band Dévics. The quartet released four albums and six singles on Bella Union between 1998 and 2006. O'Halloran began to take the piano seriously while with the band, and then in formal music studies in both Italy and Berlin. He released his first two albums, entitled Piano Solos and Piano Solos 2 on Bella Union in 2004 and 2006, respectively. During the latter year he was given the opportunity to score filmmaker Sofia Coppola's film Marie Antoinette. In 2009, he composed the score for director William Olsen's An American Affair, which was released on the Filter imprint. In 2010, he scored director Drake Doremus' feature Like Crazy (which won an award at the Sundance Film Festival in 2011). Lumiere, his debut album for Fat Cat's orchestral 130701 imprint, was issued in February 2011 to stellar reviews. It featured O'Halloran's piano in a slightly more populated sonic field that included other musicians like the ACME Quartet, Stars of the Lid's Adam Wiltzie, and fellow composer Peter Broderick. This was followed by a live solo piano recording, Vorleben, on the same label in June of that year. Three months later, he and fellow classical/film composer Adam Wiltzie made their debut as A Winged Victory for the Sullen they released two albums, A Winged Victory for the Sullen (2011) and Atomos (2014). The latter is also the original score for the identically titled dance piece by choreographer Wayne McGregor and his company Wayne McGregor Random Dance. In 2015, they were invited to perform at the Royal Albert Hall in London as part of the BBC Proms. The duo scored their first film together in 2016, entitled In the Shadow of Iris by French director Jalil Lespert.
In the meantime, demand for O'Halloran's film scores increased, and Milan released his soundtrack for the 2013 drama Breathe In. In 2014, he landed a regular gig on the Golden Globe-winning web series Transparent, starring Jeffrey Tambor. He won an Emmy for its theme music in 2015. Among other film and television work in the months that followed. In 2016, O’Halloran collaborated with Hauschka on the score for the Oscar-nominated film Lion. The score of the film was nominated for many major awards including the Academy Awards, Golden Globes, BAFTAs and Critics’ Choice Awards.
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Two 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 creative streak unexplored by Devics songwriting: 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. One of the ultimate pure piano albums, incredible mastering and straight on sound from the instrument. Makes this a deeply soulful album, does that work saying soulful for a piano? This has soul! It's a ringing bell from an old church tower reverberating over the countryside waking up the tingling sensations for all keyboard lovers. Get comfortable for a close and personal listen or turn up the volume so it fill your house and play this album. It's is minimalism perfection.
Dustin O'Halloran - Piano Solos 1-2 (flac 285mb)
01 Opus # 12 3:09
02 Opus # 13 2:46
03 Opus # 9 3:29
04 Opus # 14 4:13
05 Opus # 16 4:39
06 Variazione Di Un Tango 4:31
07 Opus # 7 3:44
08 Opus # 15 2:11
09 Opus # 11 2:01
10 Opus # 17 3:52
11 Opus # 18 3:14
12 Fine 1:56
Piano Solos vol.2
13 Opus 20 7:13
14 Opus 22 2:35
15 Opus 21 3:59
16 Opus 23 3:29
17 Opus 26 3:16
18 Opus 34 4:04
19 Opus 28 4:23
20 Opus 35 4:58
21 Opus 30 4:08
22 Opus 38 6:43
23 Opus 37 5:22
Dustin O'Halloran - Piano Solos 1-2 (ogg 161mb)
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Starting with the quiet chimes and swirls of synth texture and drone of "A Great Divide," Dustin O'Halloran on Lumiere creates a world of contemplative, post-classical elegance. 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. "Opus 43," seemingly straightforward in its piano/quartet arrangement, emphasizes careful use of space while also permitting a little rush of playful energy at one point. "We Move Lightly," with its simple but effective solitary violin in the second half of the song, further contrasts with the full string section performance of "Quartet N. 2," eschewing the then constant piano work on the album entirely. Perhaps "Fragile N. 4," its appropriate name denoting the soft blend of piano, strings, and what could almost be a music box melody at one point, is the album's high point, a quietly sweeping number that feels like it could end one of the sweetest movies ever made.
Dustin O'Halloran - Lumiere (flac 174mb)
01 A Great Divide 6:19
02 Opus 44 2:48
03 We Move Lightly 3:10
04 Quartet N.2 3:13
05 Opus 43 6:30
06 Quintette N.1 5:12
07 Fragile N.4 3:30
08 Opus 55 6:05
09 Snow + Light 6:34
(ogg mb)
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While it is an unlikely pairing in terms of style, it isn't an error to say that it was Keith Jarrett's now legendary Koln Concert and subsequent solo piano recitals that made albums like Dustin O'Halloran's Vorleben possible. While Jarrett's pieces were improvisations and these are composed pieces -- most of them appeared on his first two studio recordings of piano solos -- there are similarities in terms of presentation. Jarrett chose his location and piano carefully as did O'Halloran here. The acoustics in Grunewald Church and its piano are as much a part of this recital as the pianist's technique in performance. O'Halloran is from the new emerging school of composers that includes Max Richter and Nils Frahm, who create intimate atmospheres where emotion, space, lyric harmony, and restraint are part and parcel of the compositional framework. O'Halloran is an accomplished pianist; his technical acumen is evident from the first bars of the previously unreleased "Opus 54," with its traces of Debussy and the more skeletal meditations of Scriabin. The sound of the piano -- its pedals and hammers clearly evident on much of this -- adds heft to the feeling of intimacy on this recording. Always meditative -- though far from minimal -- emotions pour from the pianist; they evoke sorrow (he learned his grandmother had passed away moments before he took to the stage), romanticism, and ethereal, atmospheric euphoria (the beautiful sense of repetition in "Opus 28"). The gentility of Satie's Gnossienes is evoked in "Opus 17." In addition, O'Halloran has become an in-demand film composer, and this work is illustrated best in "Prelude N. 3." Part of what makes the listening experience of this recording powerful in its deliberate, elegant unfolding, is that the recital holds no pauses between its selections, and audience applause is held until the very end of the disc. The pieces' immediacy is pronounced and gently assertive. Vorleben (a German word that translates as "past" or "past life" depending on its usage) provides an excellent introduction to the solo work of O'Halloran, as it's a 32-minute best-of with some new pieces included. It adds exponentially to the flavor in the studio solo records emotionally, without ever becoming maudlin or manipulative.
Dustin O'Halloran - Vorleben (flac 156mb)
01 Opus 54 4:36
02 Opus 7 3:17
03 Prelude N.3 3:47
04 Opus 21 3:49
05 Opus 15 2:56
06 Opus 28 3:18
07 Opus 17 1:58
08 Opus 23 2:58
09 Opus 38 5:49
10 Opus 37 3:48
(ogg mb)
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Dustin O’Halloran is scoring the indie drama Now Is Good. The film based on a novel by Jenny Downham is written and directed by Ol Parker (Imagine Me & You) and stars Dakota Fanning as a seventeen year old girl diagnosed with a terminal illness who resolves to live her life on fast forward and falls in love with her new neighbor. Now is Good ia one of the most amazing film scoresn If you haven't seen this film or read the amazing novel Before I Die, I highly recommend both!
“The Beauty Inside” is a 2012 social film developed by Intel and Toshiba. It’s Intel and Toshiba’s second social film since releasing Inside. Directed by Drake Doremus and starring Mary Elizabeth Winstead and Topher Grace, the film is broken up into six filmed episodes interspersed with interactive storytelling that all takes place on the main character’s Facebook timeline. It’s Hollywood’s first social film that gives everyone in the audience a chance to play the lead role throughout the story. My friend Jorn Tillnes, the Soundtrack Geek recommended me Dustin O’Halloran’s score and I am excited to hear it.
With some scores there is love at first hear. I don’t need more than a few seconds to know that “The beauty inside” I a composition written along the paths of my soul. The minimalistic and slightly electronic start, almost chip tune like, and the permanent shadow of sweet melancholy the opening cue “New day” offers is like sampled from inside me. Hope and nostalgia go hand in hand and turn this musical canvas into my favorite hoodie, my most comfortable and familiar article of clothing.“The beauty inside” couldn’t have been a more appropriate title for the music. The composer turned his magnifying glass towards the inside and wrote an honest and intimate score that wouldn’t work outside the confines of a soul. The musical thread is too fragile and precious to be exposed to the outside world. The piano wears a quiet smile and tells its own story, simple, intimate and full of love. When it’s not the piano, the electronic keyboard and chimes take over and the effect is just as magical.
Dustin O'Halloran - Now is Good + The Beauty Inside (flac 221mb)
01 Mirror 0:31
02 Bonfire, Curiosity 1:22
03 Wings 1:00
04 In The Forest 3:38
05 Butterflies 0:48
06 In The Night 1:00
07 Snow Angel 1:19
08 Moments 0:39
09 All Things Must Fall 4:19
10 Write My Name 1:04
11 Another List 1:00
12 Carry Me 2:50
13 No Time 0:58
14 Star Kiss 1:17
15 Destroy 1:46
16 While You Sleep 0:49
17 Snow + Light 5:34
18 All That You Leave Behind 1:10
19 Tessa 2:15
Dustin O'Halloran - The Beauty Inside
01 New Day 01:16
02 Alex's Theme 01:01
03 Antiques 02:39
04 Lonely Hearts 01:24
05 Not My Own 01:08
06 Museum Nights 02:02
07 Static Longing 01:02
08 Leah 01:59
09 Antiques And Heartbreak 01:15
10 Lost And Found 01:50
11 Home 02:40
Dustin O'Halloran - Now is Good + The Beauty Inside (ogg 107mb)
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2 comments:
Thanks you for the O'Halloran uploads ... you're descriptions of his work caught me imagination. Thanks for the introduction.
The obvious question is have you heard his band Dévics material ?
Cheers !
Hello Louis, well you have to wait a week to find out, but yes there;s more to come from Dustin.
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