Falun Gong Dancer

Room 720

I Fall in Love Too Easily

I’ve Grown Accustomed to Her Face

Bridget Jones: Mad About the Boy (Original Motion Picture Soundtrack)

Memory Box

Music composed by Florian Linckus

(c) 2025 florianlinckus.com

Childhood

🕊️ A Symphony of Light and Resolve – Epic Cinematic Soundscapes

Wings of Solace soars through emotion and grandeur, a masterwork of cinematic storytelling and orchestral majesty. 🎻🔥 With sweeping strings, bold brass, and ethereal choirs, each composition unfolds like a moment of triumph born from silence — a journey through struggle, hope, and transcendence.

The music carries both power and tenderness, balancing thunderous percussion with delicate melodies that rise like dawn through the clouds. Perfect for filmmakers, dreamers, and anyone seeking sound that moves the soul and ignites the imagination. 🌅🎬✨

Veins of Winter

BioWave Purifier is an AI-generated ambient journey built on bio-inspired frequency structures and deep rhythmic pulses designed to evoke a sense of cleansing, renewal, and inner clarity.
The album uses harmonic waves, resonant drones, and frequency-layered sound design to create an atmosphere that symbolically mirrors the idea of clearing out what does not belong — physically, mentally, or energetically.

Warm drones, pulsing sublayers, and vibrating overtones blend into a meditative soundscape that feels both primal and futuristic. Inspired by Rife-style frequency concepts, each track explores different tonal fields associated with purification, balance, and rhythmic release.

This is not medical audio — it is an experiential sound ritual, crafted to give listeners the sensation of cleansing, clearing, and energetic realignment.

Let the frequencies move through you.
Let the pulse refresh your inner space.

Quiet Skin, Quiet Wind 2

The Dark Side

Candy

Being the humble guys that they are, Surprise Chef aren't going to admit they have something very special going down. However, there must be some magic in their studio, or maybe in the fact they all share a house and have formed close bonds, or perhaps from absorbing the DIY ethos of running their own record label that has culminated in such a unique and enchanting sound.

'Daylight Savings' is the follow-up to the group's debut album 'All News Is Good News’. That album earned the band a much - deserved following across the world and triumphantly marked their arrival onto the international stage. Their new album was recorded in Spring 2019, almost exactly a year after they recorded ‘All News Is Good News’. It was the weekend that daylight savings time started in Australia, and the studio was filled with the smell of the towering

Jasmine bush on the exterior back wall of the house. The record is subsequently filled with the optimism that comes with the impending warmer months and longer days in Australia. Recorded in their own
home studio in Melbourne, the production approach for 'Daylight Savings' is a big step up from their debut. Engineer, Henry Jenkins,
created enormous-sounding space within this record, using a great deal of creative analogue recording techniques and working in an expansive recording environment. The results are a sound that emulates the
massiveness of the late-60s Capitol Records.

‘Daylight Savings' was written collaboratively by the whole band and features the core Surprise Chef rhythm section. It expands upon where their debut left off with a leaning more towards 70's jazzfunk than soul
and a stronger focus on the rhythm section. There’s the epic drama, ebbs and flows of a vintage David Axelrod or Alain Goraguer cinematic production, plus the influence of El Michels Affair and Melbourne bands
Karate Boogaloo and The Putbacks, yet it still sounds uniquely Surprise Chef. You get a sense of that rare attribute of being both a contemporary band and a band you expect it won't be too long before other producers start sampling them.

Daylight Savings

Surprise Chef - College Welcome

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.

Memory Box

Dustinohalloran

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