00:00 00:00
more light drama
LC 12350
:
2000-01-11
:
2023-07-25
Big surprise: light drama! From newsy to rock
Good For: Light News, Drama
-
VH001901
1:23
Sultry synths, Rhodes, drum loops, filtered guitar and washes of electric guitars ebb and flow like an 18 year old's libido. Starts mysterious and dark, @:21 hits an emotional pinnacle. The mix gets very subtle and neutral @:30 - but returns to the theme @:48 and adds slow, EQ'd breathing. Good for investigations, stories about sex or when your news anchor starts every interview with 'So do you and your lady swing?'; 90 bpm; (Bmin)
-
VH001902
1:06
Ominous. Looming. Threatening. Menacing. And still looking for Ms. Right. Manipulated drum loops, Chapman Stick, dark delayed organ hits, icy percussion spikes and reversed drums paint ascore for a film where a virus kills everyone on the earth except for those women in department stores that spray you with cologne. Lumbering, pounding drums create a slow, steady tense beat, augmented by pulsing noise loops @:12. An eerie pause in the rhythm occurs @:31-almost like we're looking at a vast wasteland of destroyed buildings and armies of rabid women screaming 'Obsession for Men!' and spraying wildly. @:50 the pulse resumes. Good for mysteries, murders, stalkers and really, really misunderstood dentists. 120 bpm (Ebmin)
-
VH001904
1:15
Melancholy cut using fretless bass, piano, drums, processed electronic percussion loops and minor synth pads. Starts light with loops and piano, with the groove kicking in @:12. After :30, the true pathos begins, where the mix gets more spare and atmospheric, with piano providing an harmonic canopy accompanied by pads and ride cymbals. We're awakened from our reverie by the best drum fill in VideoHelper history @:54, which leads us back to the main theme. Good for morally ambiguous pieces, forced decisions and angry but lovelorn characters. 160 bpm (Cmin)
-
VH001905
1:08
What if robots wrote did the theme for 'Technology Today?' and/or learned how to pronounce the letter 'w'? Fast tempoed bundles of digital-sounding synths, drum machine and (@:09) a highly-strung drum loop sound like a basement full of ultrafast robots building futuristic marital aids (your impression may differ). @:30 the cut loses the drum loop, only to have it roll back @:39, creating a drum break that leads back the main theme (and full mix) @:45. Good for stories on computers, financial happenings, telecommunications and stuttering. 160 bpm (Amin)
-
VH001906
1:16
Amospheric, sad and destined never to be a prom theme. This cut uses wispy synth pads, spare reverbed piano, synth bass and drum machines to create a simple track that works with reflective moments when we remember those who have died - and those who've seen Ishtar (the movie-not the God). Slow paced, with washes of synth pads coming in and out. Gets really depressing @:32, with a simple piano arpeggio and synth pads - relieved by the drums returning @:42. Good for when you're looking back at one hell of a bad career or the year your entire family joined a cult. 90 bpm (Amin)
-
VH001907
1:19
Remixed minimalism that manages to convey overwhelming movement - and not moving at all. String quartet, bass clarinet, flute, delayed piano with processed drum and bass loops interweave a complex web of rhythm and emotion, feeling positive and sad. Dignified but hip, this cut works for technology pieces, natural wonders and sped up footage of city streets and grass growing. @:31, a deceptively simpler-feeling mix starts-giving the feeling that time is passing - then returns to the main mix/theme @:45, getting really full @1:03. 85 bpm (Gmaj)
-
VH001908
1:12
"Will Olivia learn to face the fact that Dirk is dead - or will she continue to ask him if she looks good in plaid?" Slow, measured, clock-like electric piano patterns, bass and synth choir pads (in @:09) create a dark cut with movement and building suspense to :30. @:40, high bells give the piece a more somber, delicate feel as the choir pads build beneath until a climax @1:04. Good for soaps, medical pieces, medical soaps, and pieces of soap. 112 bpm (Emin)
-
VH001909
1:06
Sterile, almost medical cut in 7/8 . Soft percussive synths, minor key washes and various metal and wood percussion provide a bed of constant movement. Builds @:20 towards the climax @:29 by adding more synths to an already engaging bed. Perfect for graphics or medical pieces. 85 bpm (Gmin)
-
VH001910
1:09
Drum loops, piano, distorted synth arpeggios, bass, acoustic nylon and electric guitars reveal a deserted street with a stumbling 16-year old - cold, shaking and scared from lack of food, sleep and top-40 radio. A hip hop beat opens the piece giving it a 'street' feel with piano and clean electric guitar playing sad, minor chords. Tension/danger is introduced @:15 with a distorted synth arpeggio. @:29, our teen finally falls from exhaustion, with most instruments dropping out, leaving us with a pseudo- Flamenco nylon guitar line, processed percussion loops and an eerie synth pad, with the full theme/mix returning @:45. Good for PSAs and mysteries. 92 bpm (C#min)
-
VH001911
1:14
Great for hemorrhoid commercials - especially if yours have been through a painful divorce. Delicate synths and guitar harmonics pan all over the stereo field, creating a clock-like bed that feels both emotional and sterile. Starts building from the first note and climaxes @:29. @:31 it becomes more spare and sad - building to the finish @1:09. Good for investigations and medical pieces. 131 bpm (Emin)
-
VH001912
1:07
Forward, in-your-face technology bed with edge - appropriate for financial news, computer pieces and 'Network battle of the angry techs that are rich - but still couldn't score if they were covered with bonbons and thrown into a prison.' Arresting techno synth leads, medium- tempo straight ahead house-era drum machine programming and cold, impersonal synth pads (in @:30). Gets full and active @:20 and :44, giving the impression of a frantic trading floor or a Taco Bell with only one restroom working. Good for opens, themes and when your computer gets its own satellite with offensive laser strike capabilities. 130 bpm (Gmin)
-
VH001913
1:05
There's a stalker out on the streets - and it looks alarmingly like Tracii Gordinn, my first girlfriend. Dark, mysterious cut that recalls the horror movie music of the 50's - but in a cool, updated way. Simple piano, bicycle spokes, bass, processed choir drums (in @:09) and vintage theater organ (in @:13) create a feeling of discomfort - like the feeling you get from seeing people who wear matching sweaters with their pets. @:34 a percussion break with high hats, bass and assorted wooden drums brings the theme back @:44 - which grows more evil until the final knife plunge @1:04. Good for Halloween, retro (but not humorous) horror and unsolved murders. 94 bpm (Ebmin)
-
VH001914
1:10
Elegant and hip, this fast-paced cut uses a large string ensemble contrasted with drum and bass loops. Ascending minor string figures, ticking metallic percussion, drum machine (in @:09) give the feeling of pride and growth which climaxes in a major chord @:29. @:31 a questioning, almost tentative section begins with strings and drums that grow more tense until they explode back into the theme @:54. Good for celebrations, un-stuffing stuffy events and for accompanying fast-motion video. 160 bpm (Gbmaj)
-
VH001915
1:10
Where's that Native American crying about pollution when you need him? Beautiful Andean flute piece that, to most of us musically/culturally illiterate folks, could be also used as music for Asian pieces (especially the first :10), Native American pieces and South American pop. Featuring South American flutes, pan pipes, South American skin drums, acoustic guitar and various percussion. Gets pensive and quiet @:30, returning to the theme @:46. Good for nature pieces and beauty shots of rain forests, before they're converted into Starbucks. 152 bpm (Emin)
-
VH001916
1:11
Good neutral medical cut. Slightly driving - almost like your headache medicine will not only defeat the pain, but will actually kick the living crap out of it. Delayed percussive synths, synth-generated drums and atmospheric washes create a shifting atmosphere that gets more driving @:16 where the synths get a bit more techno - and start sounding like a Trevor Rabin cut. @:48 the piece becomes even more driving with additional drums - and climaxes @1:04. 121 bpm (Gmin)
-
VH001917
1:10
Middle Eastern intrigue featuring a lone oboe, wisps of vocoded vocals, synth pads, electric piano and truckloads of metallic and wooden percussion create a good environment for the score for the 'Second to Last Temptation of Christ' or the next time the cast of 'Murder She Wrote' smokes opium. Starts spare, but shakers add momentum @:14. Second half is more atmospheric and distant, with the percussion picking up @:48. 120 bpm (Cmin)
-
VH001918
1:09
Moderately dramatic track useful for medical pieces or mildly serious stories, like missing children, missing funds or missing someone's birthday. Delayed Rhodes, ticking and spare electronic percussion set a tone of troubled skepticism without going over the top. @:14, the piece grows more urgent with more rhythm, white noise accents and reversed cymbals continuing in a slowly building manner until :30. @:47, entire mixed is processed and washed out (perfect for sound bites) until :52 when the cut becomes more dramatic again. 100 bpm (Amin)
-
VH001919
1:16
Have a mystery? Acid jazzy, noirish cut featuring trumpet, synth pads, xylophone, Mellotron, organ, bass and processed drum loops. This cut's good for investigations and exposing the white, puffy underbelly of crime on our streets. The beginning starts with a solo trumpet over synth pads, and builds towards a climax @:19, where the drums kick in and the intrigue begins. Good for slow, black and white visuals and investigations. 90 bpm (Fmin)
-
VH001920
1:14
Someone nabbed your kids: Do you pursue them with your newly purchased 9mm and a vengeance, or call your accountant and have him start removing dependants from your tax return? Ultra-processed circular elements, dramatic drums, and muted guitar send a tone of danger, purposeful-ness, and the sense that something big is going down soon. Builds constantly until :29, when things calm down, punctuated with "distant bomb"-like hits. Groove returns @:44 with drum breaks lending mounting tension through the end. Great for investigations, love triangles gone bad, mysteries, threats, and paybacks. 100 bpm (Bmin)
-
VH001921
1:26
Mysterious, almost sad, voices guide you along the edge of a dark and beautiful jungle. Large chanting choir vocals and wooden and metallic percussion guide you along the treacherous paths. @:19, you come across the magnificent sight of Victoria Falls as the music turns major and the feeling gets proud and majestic. @:31, the mood gets dramatic as tribal chanting surrounds you - and they don't sound friendly. @:46 the calm before the storm hits as the theme returns and the piece climaxes on a major chord @1:03. Good for showcasing nature's grandeur or a visit to a really large 'Home Depot.'; 116 bpm; (Cmin)
-
VH001922
1:14
Pulsing, swelling ring-flanged synths (I'm turned on just writing this) and an insinuating piano melody kick off this straight-ahead useful cut. Drum and bass groove jumps in @:12 augmented by reversed, treated gong hits, and, @:19, guitar swells making it extra "guilty" until :29. After :30, it becomes more spare, atmospheric and dark, until :56 when everything comes in again. Good for investigations, infidelities, insider trading, and instant gratification. 80 bpm (F#min)
-
VH001923
1:09
You asked for it, you got it. Mid-tempo techno music featuring the didgeridoo, which translated from the Aboriginal means both 'Big-Ass Kazoo' and 'painful instrument to listen to for hours.' Native Australian hand percussion, a couple of types of didgeridoo, techno loops and a busload of high, filtersweeping, resonating synths all come together to create this blend of world music and dance. Kicks in @:10 - with drum breaks @:19, :29 and :44. Good for the Olympics - if they should ever again be held in Australia during our lifetimes or anything remotely Australian - with the exception of Koalas and Paul Hogan, unless they're fighting to the death. 140 bpm (F#min)
-
VH001924
1:06
Movie of the Week', 'After School Special', 'Lifetime-Produced movie'. Wherever you see these words - you'll hear this music. Acoustic nylon guitar, strings, orchestral percussion, processed techno synth loops, woodwinds, udus, triangles - and this should clinch it - French horns - let you know someone, somewhere, is having some kind of crisis involving either a tough decision, painful memory or being stalked by an ex-lover. Tense, percussive bed until :20, when the orchestra crashes in and cranks the drama setting to '11.' The mix returns to a bed @:30 - but a descending low string line starting @:51 and climaxing @:59 lets you know that things will not end happily. 130 bpm (Amin)
-
VH001925
1:20
Take a half cup of depressing, 1/4 cup of threatening, some mystery and cumin and you have this cut - and a trip to the hospital, because I'm allergic to cumin. Low, delayed heartbeat-like metal hits, reversed drums, delicate piano, high synths, cymbals and processed loops create a tinkly, beautiful, almost sterile cut that would be appropriate for a teen after school special about pregnancy, divorce videos or stalkers with impeccable fashion sense. @:53 a prettier, smaller (mix-wise), less threatening version starts. 100 bpm (Amin)
-
VH001926
1:10
Fast tempoed techno meets mid-tempo hip-hop/industrial. Percolating, burbling synth bed that suggests that there's some technological intrigue going on - or that someone is wearing white after Labor Day. Burbling arpeggiating synths, bells, drum machines, and a haunting, subtle synth lead - with a more driving newsy-feeling synth entering @:18. @:31 the mix gets smaller, but starts adding dramatic elements back (like delayed bells and filtered synths) @:42. Good for news beds, current events, computer pieces or insider trading. 79 bpm (F#min)
-
VH001927
1:10
Heartland Noir. Someone has stolen all of Boise's Skoal Bandits and taken off into the dustbowl, leaving behind caseloads of surplus "Get a Pinch of President Gore 2000" chewing tobacco in its place. Acoustic and slide guitars, plus odd-meter drums evoke the story of vigilantes on the run with dark turns, double-crosses, black helicopters and kinky chewing satisfaction along the way. Haunting slide guitar throughout reminds us that chaw is bad and causes mouth cancer while the muted guitars @:30 tell us not to believe all that the ATF agents tell us. Useful for darker, quirky stories that venture into David Lynch territory. 85 bpm (Gmin)
-
VH001928
1:15
Winding, deceptively simple, slow-tempoed cut that uses organ, delayed drums, metal percussion (in @:19) and a simple,guitar paints a picture of a desolate, desert highway where a man waits in the setting sun for a car that never comes - which is fortunate, because he's deranged and expects to cut his unsuspecting hosts into niblet-sized chunks. Good for sad stories, investigations or when something dark and creepy lurks beneath the surface. 75 bpm (Amin)
-
VH001929
1:19
A combination of techno and country music sensibility, this cut uses a bunch of acoustic guitars, a pedal steel, delayed synths, strings, a drum machine and a church bell to convey the tedium of a desert plain - until :19, when a storm passes over us (represented by marcato string hits and drum accents - and disappears @:30). The dust settles, but then the maelstrom returns @:51 with a more urgent, emotional tone this time as we watch our farms get destroyed by tornadoes and hailstones. A South Western-tinged cut also good for technology stories with human aspects or plagues of locusts, flies, slaying of the firstborn, etc. 97 bpm (Amin)
-
VH001930
1:16
Dark, brutal cut with delayed percussive synths, metal scrapes, high electric piano, tons of drums and heavily reverbed 'explosions.' Has a great dramatic range - constantly alternating from light tinkly beds (@:00 and @:31, for example) - to pounding sections where the ground opens up and the bowels of Hell are revealed (@:15 and @:54). A special VideoHelper prize goes to the person who can figure out what the demonic voice is screaming @:54. 136 bpm (Dmin)
-
VH001931
1:23
Tense, layered, flowing piece useful for a wide variety of human emotions. Starts off with a minor groove sprinkled with suggestive piano lines that may or may not betray something darker beneath the surface. Synth pads hint that someone listened to Foreigner "4" growing up. @:12 electric guitar swells heighten the tension and the piano really builds from :24 to :29. Becomes yearning @:32 with a complicated four-hand piano part and high guitar. Turns almost pretty @:45 but the tension comes crashing back in (w/ a big drum fill @1:01). Good for reflective moments and emotional reunions. 80 bpm (Emin)
-
VH001932
1:16
What if a sedated Trent Reznor had produced Peter Gabriel's 'Passion'? Atmospheric, mysterious and just plain creepy. Winding oboes, reverbed metal percussion, udus, dumbeks and a cardboard box place you in a dark alley somewhere in Teheran. Percussive accents randomly assail from all directions as you feel the tension mount. @:34 lumbering, dark electric guitar chords give the piece a more menacing feel. Good for implied threats of world destruction. 110 bpm (Gmin)
-
VH001933
1:12
Troops are massing on the border of Iraq, peace negotiations are failing and the UN is crushed to find out that 'Underdog' is in fact just a cartoon character and will not be helping out. Tense ethnic and military percussion, guitar harmonics, strings, and piano start with a small conflict and build so that by :29, someone's dropped the bomb. The second :30 starts soft again, but this time features a less melodic, more percussive approach, introducing melody @:45. Good for military confrontations, murders and musically expressing that time is running out. 95 bpm (Emin)
-
VH001934
1:21
Electric piano, reverbed wailing electric guitar washes, acoustic guitar, bass, synth pads and drums bring to mind the pain and anguish of losing-or at least misplacing-a loved one. More single-minded than most VideoHelper cuts, the mood doesn't vary much during the first :30, staying sullen and cloudy. @:31 the Zoloft still hasn't kicked in, and the mix gets more intimate straight through to the end, where the longest final note in production music history starts @1:13. 130 bpm (Amin)
-
VH001935
1:11
Need something that's easy to edit to? Part action cut and part anxiety-provoking bed, this cut uses helicopter blade whirring, synth arpeggios (in @:09), filtered synth choir pads, and @:14 until the end, pounding drums and stabbing, wahed electric guitars to create a feeling of listening to the musical equivalent of a fistfight. Good for image spots (especially if your station owns a chopper and regularly strafes the competition), tense technology pieces or for reruns of 'Airwolf.'; 164 bpm; (Amin)
-
VH001936
1:06
Minimal, pulsing, ambient, weird sci-fi cut that uses hydraulic sounds, droning resonating synths and delayed, steady metal percussion to give you the impression of a strange, far-away planet, where they only have 'Alien Gaps' and you're having problems finding pants with less than seven legs and three flys. Sounding like the inside of some futuristic machine, this cut includes hints of bird calls (@:33) and more direct, driving percussion, which starts @:45, and builds to the end. Good for mysteries, investigations and exploring the weird crap that happens in women's bathrooms. 160 bpm (Cmin)
-
VH001937
1:10
Tense worldbeat music that says ?escalating drama' with a mechanical, moving bed of metallic, glass and wooden percussion with synth choir, dulcimers, electric piano and distorted drum machines. Starts out with pounding war-like percussion bed, then introduces washes of minor synth choir starting @:09 that add a sad, emotional edge. The second half has a more minor, sadder feel to it, especially @:50 when the melody swells and gets infected. Good for tense investigations and when emotional confrontations are right around the corner. 110 bpm (Amin)
-
VH001938
1:21
Want dark and overbearing? Mid-tempo, over-the-top cut replete with reverbed tinkly piano, end-of-the-world drums, respirator sounds, creaking metal and almost as many crashes per minute as a new Windows OS. @:48, we remove everything but weird ticking and respirator sounds, with the aural onslaught arriving back @:57. Pounding, merciless, and good for painting a bleak, scary picture of a life that will even depress a Goth teenager. 120 bpm (Gmin)
-
VH001939
1:12
Positive, pulsing technology music good for when they discover a cure for phone-sex-contracted syphillis. Medium-tempoed arpeggiating synths accompanied by simple drums, bass and drum loops (in @:16). Gets busier @:24. After :31, the cut gets a more positive "I can do it!" kind of feel by adding more driving percussion, lilting synth arpeggios and less of the halting stop-start feel of the first half. Works for technology cuts and optimistic human interest stuff. 120 bpm (Cmaj)
-
VH001940
1:07
Good news happen? Your anchor's divorce papers come through? Medium tempoed, forward-moving orchestral cut that will fill your heart with pride - which hopefully will be replaced soon after with blood, or you could have some kind of embolism. Pounding drums, soaring trumpets, fluttering strings-it's all here: a good solid, news theme or a positive cut for your station's image spots. A more neutral bed starts @:30, allowing you to loop to your heart's content, which is useful for news beds and headlines. Great for world events and 4th of July celebrations that don't involve losing a limb to a clumsily handled explosive. 75 bpm (Dmaj)
-
VH001941
1:16
A not-at-all-subtle news theme the way they used to write them: drunk and naked. Larger-than-life orchestral piece that features tons of galloping percussion, brass and enough strings to kill Tchaikovsky-again. @:29, the percussion, delayed high piano and arpeggiated harp create an easy-to-loop bed with movement-which builds and then returns to the main theme @:45. Good for proud celebrations, Olympic victories and celebrating Olympic victories. 69 bpm (Cmaj)
-
VH001942
1:06
Fast paced, positive active news bed for the few days when there's good news. Strings, synth pads, bass, bleeping synths and drum machines create a good financial news/technology/dancing magic pandas bed. @:29 the melody disappears and a more neutral drum-based cut starts, with the positive theme/strings returning @:45. Newsy without being too 'local' or trite. 153 bpm (Cmaj)
-
VH001943
1:13
Uplifting and confidence-enhancing: The 'Miracle Bra' of production music. Hybrid electro-orchestral cut that starts small with intricate percussion, semi-urgent snare buzzing, and a high bell melody. Kicks in @:16 with strings, horns and bigger percussion. Crescendos big from :24 to :29, then becomes heartwarming from :30 to :51, when the marcato strings jump in and the original theme returns. Perfect for news generics, sports triumphs and US military victories over tiny, poorly-armed countries. 120 bpm (Dmaj)
-
VH001944
1:09
Positive orchestral/techno hybrid . Delayed strings and a drum machine combine to give you a powerful, driving newsy theme appropriate for news opens, image campaigns, celebrations or when Judge Judy gets devoured by hungry wolves. Gets blindingly positive @:47. Simple and elegant, but not one ounce of stuffiness. 120 bpm (Gmaj)
-
VH001945
1:06
Big orchestral, cinematic open perfect for those shots of the Hollywood sign at night and movie premiere lights flashing like that guy at the Oscars. With lush strings, glitzy horns, and great supporting performances by the harp and electric guitar. Starts sweeping and grows from there, getting bigger and goes even more Movie-at-8-ish @:14 with bells, chord changes, plastic surgery and a new publicist. Takes a turn for the minor @:31, setting up the triumphant return of the hero/heroine @:51 (preceded by a fake-out @:46). The crescendos and swelling strings follow, as they should, to the end credits. 160 bpm (Cmin)
-
VH001946
1:21
Feel-good pop track. Starting out with a laid back delayed guitar line and drum loop, the rest of the guitars come in @:15 and keep adding a little more aggressive attitude until :30. Useful for sports, positive human interest and Americana. 100 bpm (Dmaj)
-
VH001947
1:17
A dusty country road. An old Chevy. A six pack. Dead hitchhiker in the trunk. Neutral, light, mid tempo acoustic guitar rock with drums, bass, tambourine and tremoloed electric guitar. @:31 to 1:00, a more intimate bridge section reflects the moment when a person looks back at their life and says "I should have never married a can of condensed milk." @1:00 the theme returns. Good for small towns and homecomings - provided your family hasn't been possessed by pod people. 100 bpm (Gmaj)
-
VH001948
1:16
Updated Motown/Soul/Neosoul. Using piano, wahed (and Leslie'd) guitar, organ, drums, electric piano and percussion (clapping, tambourine) we've managed to create a funky, laid-back positive cut that could be used for morning news shows, stoned weathermen and spots on the return of the afro's popularity. @:50 takes a funk-oriented break that is destined to be sampled and looped on local morning-show-talent rap records. 100 bpm (Amaj)
-
VH001949
1:22
Straight-up not-so-hard rock. Propulsive drums, layered arpeggiated guitars and a slinky melody line in @:10. Feels more like a straight pop tune than production music, with a linear build to :29. @:30 it deconstructs itself with intentionally lo-fi guitars and half time drums. Shiny drums come back in @:44 and everything really comes together @1:02 for the big finish with about 12 guitars playing at once. Useful for dramas, newsy road trips, and coming of age issues. 120 bpm (Gmaj)
-
VH001950
1:24
This cut brings back the beach party music of the 60s-70s - with a hipper updated twist, by wah-wahing the drums and adding new production tricks. Organ, guitars, bass and drums practically fill your bathing suit with sand - especially the first :30 and after :45. Good for road trips, sports (surfing), and that 70s beach hip-retro sound. 130 bpm (Amaj)
-
VH001951
1:12
Left-of-center Americana. Useful for light drama, or anything needing an earthy, American appeal without being cliched. Organic, either melancholy or uplifting (really!) piece with Chapman Stick, open-tuned drums, and acoustic and electric guitars. A hip country-ish feel without going to Nashville or TNN. Starts rhythmically active and pauses for breath @:09. Slide guitar sneaks in, making us see fields of grain, kids splashing in the swimming hole and Enos from the Dukes of Hazzard. @:33, takes an unexpected turn for the dramatic, but the problem is solved by :49. Just like real life. 90 bpm (Amaj)
-
VH001952
1:13
Positive, light, Americana-ish homecoming country music. Not like the one in 'Carrie' but the kind with acoustic guitars, electric guitar, airy synths, piano, drums, tambourine and bass painting a Norman Rockwell portrait of a son returning from college-or months of post-cult deprogramming. The first half is emotional and warm, and @:30 the pace picks up, the piano begins a rolling arpeggio, the drums come in and the piece takes a happy, almost road-music turn. 98 bpm (Amaj)
-
VH001954
1:19
Going on a road trip-and not spending the entire ride in the trunk? Positive, 'cooler than Nashville' folk rock. Mid-tempo, straight-ahead roots rock that uses strummed acoustic guitars, organ, electric guitars, bass and drums. @:31 we get a glimpse of space rock creeping in melodically but this ends @:45 as the main theme reiterates @:45 with a smaller mix, and returns to full size @1:00. Good for light teen dramas, morning news and footage of running highway lines. 130 bpm (Gmaj)
-
VH001955
1:16
Upbeat, 80s-inspired cyclical bed of moving synths and marimbas. Simple drums and melodic electric guitar accents (fuller @:18). The drums relax @:30, returning @:38, bringing in a more complex guitar arpeggio enters @:45. Works for human interest pieces, or just when you need a bed of light, busy music. 123 bpm (Emaj)
-
VH001956
1:12
Bi-polar cut that shifts between loping 70s funk-styled hip hop grooves and ultra-fast, seizure-inducing breakbeat using (very) distorted electric guitar, mechanical noises, bass, processed loops and what sounds like an accident involving two '73 Pintos. Good for sports, technological disasters, sudden mood changes (@:18, :40 and 1:03) and musically interpreting taking a shower with twenty live, sharp-clawed cats strapped to your naked body. 85 bpm (F#min)
-
VH001958
1:07
Latin-tinged techno/remix. Low gothic vocal pads, nylon pseudo Flamenco guitar, and drum loops, drum loops, drum loops! Starts out like the beginning of a bullfight, expectant and almost tense - until the bull enters the ring @:14 and the drum loops start and the bullfighter wishes he'd stayed in beauty school. Good for the running of the bulls in Pamplona, Latin sports and anything with the phrase "passionate Latin lover" in it. It's first cousins with the VH cut 'Que Disco!'. 135 bpm (Cmin)
-
VH001959
1:17
Techno-tinged Latin music track that uses Flamenco nylon guitar, electric bass, manipulated drum loops, hand drums and more flanged cymbals. The main theme fills the first half, then @:30, a percussive, clap-filled bed ensues - allowing the main theme to return @:55. Good for NAFTA stories, castanet practice, bullfights, positive stories or until the Latin music craze is over - which I think was yesterday. Shares genes with the VH track 'Latinsanity.'; 135 bpm; (Amin)
-
VH001960
1:10
Impossibly happy, mid tempo 1966-era elevator muzak with an updated feel. This cut features flugelhorn, vintage analog synths, glockenspiel, flute and strings. Except this time, we've added a variety of drum machines, odd time signatures and sonic craziness that will have you in the dentist's chair begging for the drill's whine to drown this out. Good for mescaline overdoses, over-caffeinated morning shows, torturing hostages and sped up footage. @:32 we fall into a Bossa Nova, kind of groove, returning to the theme @:44. 80 bpm (Bmaj)