00:00 00:00
overkill
LC 12350
:
2006-02-08
:
2022-11-07
Tracks that start big and just get bigger. Good For: Epic Drama
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VH003101
1:09
Huge pounding buildup that suggests tension is mounting, evil is coming and NOBODY looks good in a beret. Starts with slow, chugging electric guitars, low piano, deep strings, and increasing numbers of percussion instruments that grow to include metal sheets, stamping, anvils, djembes, gran casas and multiple car door/trunk slams. Gets faster @:17 and @:22. After a climax @:29 a processed metallic/glass arpeggio contorts, becoming a shrill, twisted mess. The pounding starts anew @:42, growing bigger and faster until an explosive end @1:04. Good for building suspense, chases or a "Dancing for Felons" podcast.
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VH003102
1:10
Roiling cinematic orchestral track with a modern twist. A rapidly coursing string line opens this track which then reflects back on itself @:03 as the piece continues. Massive hits and orchestral reverses continue building the track steadily to :30. Breakdowns @:31 (processed cello) and @:38 (driving percussion) provide contrast until a big crescendo and hit @:47. Good for action, chases, or epic conflicts. Sounds kind of like John Williams or Alan Silvestri kicking ass.
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VH003103
1:10
Psychotic pounding tension. Suspenseful, driving cut that gets exponentially tenser with each :05 section. Separated by short, creepy string glissandi transitions, each of these :05 sections is a bed of heavily processed string noises/clusters rising in pitch against a bed of growing metal and wooden percussion. After a chaotic climax @:29, a bed of shifting processed string noises starts, broken by huge hits that grow faster and more driving, until a final climax @1:04. Bringing to mind the works of Xenakis and Penderecki, this piece works well for suspense, horror and fast cuts.
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VH003104
1:17
Ascent/descent into madness. This mid-tempoed cut that starts with a growing, rising tone comprised of snippets of reversed orchestral brass, a bed of strings, sporadic drum hits and metallic and wooden percussion, gets louder and faster until a climax @:29. The cut then pauses for a rumbling, churning segment of processed low brass which then becomes a gentle ticking, clock-like bed @:38 littered with accelerating huge metallic percussion. After the hit @:59, the cut descends tonally, while processed brass samples create a chaotic, frenetic build. Good for suggesting insanity, slipping into Hell or eating five PCP-laced cookies.
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VH003105
1:05
Doing a story on cemeteries? Your news director Count Chocula? Every Gothic clich© we could think of in one neat little package. The first half features tubular bells, harp, triangles and glockenspiel amidst swelling orchestral brass/strings and @:24, choir and demonic whisperings that all climax @:29. The second half takes the same Jerry Goldsmith/James Horner-tinged ingredients, but slowly twists them, as the piece gradually disintegrates - most notably starting @:49. Good for hauntings, Halloween and mysteries.
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VH003106
1:20
Hit-filled, tense, uptempo bed of orchestral movement that suggests conflict - but with complexity and suspense. Starts with a churning bed of processed strings accented by synth bass, orchestral/electronic percussion and orchestral hits, then grows in determination and drive @:08. @:16 the bed drops away and the now brass-heavy explosive hits build in both pitch and tenor until climaxing @:29. After a brief interlude @:31 with processed feedback, the churning strings begin again @:35 and build as they did in the first half - taking a pause for a percussion-only break @:48, returning to more a forceful, choir-aided hit-fest @:57. Brings to mind action films and competitive TV reality shows.
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VH003107
1:20
Breakneck percussion and pressurized sound design create an instant sense of, um, urgency. (Geek note: the time signature of this first section is 11/4, unsettling things from the get-go.) Bombarding you with more hits than you'd get in a North Korean prison, this cut builds with metallic accents and ascending turbine-like sound design to climax @:29. Afterwards, enjoy a comparatively relaxing half-time feel (by :42 we're back to full speed), while :53 begins a build to a fake-out hit @1:03. Starting @1:05 is a stand-alone volcanic build-up of drums with a climactic rise. Good for anything that gets better by being beaten.
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VH003108
1:26
Dreams interrupted by nightmares. Mid-tempo, haunting, wordless woman's vocals interspersed with processed/looped chamber strings, processed orchestral elements, choir, electric guitar and bouts of over-the-top percussion batteries, coalescing into a pounding climax @:29. The second half removes the vocals and percussion, leaving a bed of processed/heavily edited strings, electric guitar, synth pads and a simple reverbed piano melody. @:50 the vocals and explosive percussion return, swelling to a fuller, more positive ending. Good for suggesting sadness and sweetness tinged with mystery or supernatural conflicts.
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VH003109
1:12
Need to score a knife fight or a psychological thriller's climax? Pounding, over-the-top, old-school suspense/thriller cut with the faint scent of Jerry Goldsmith/Alexander Courage mixed with 60s detective show leanings. Hit-filled build to :29 featuring string col legnos, timpani, percussion, snares, processed percussion, low brass swells and French horn/trombone stabs that bring to mind marching armies or the tense final confrontation between Good and Fuddruckers. The constant pulsing of the strings creates a clock-like movement that also suggests evil machinations. After :30 the cut provides several loopable beds, returning to the insanity @1:00.
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VH003110
1:22
Disfigured Death Metal meets mangled sound design in a swirling cauldron of violent juice. All Hell gets in the minivan @:11 when the ridiculously fast trap drums, electric guitar and electric basses kick in, screech into your driveway @:17 with a jet engine windup, checks its breath @:23, then bangs repeatedly on your door till it breaks in @:29 with more noise than "Livestock Night" at the Mustang Ranch. The second half features a percussive onslaught of purely processed electric bass/electric guitar sounds with plenty of breaks and hits, returning to the main "windup" @1:05. Lends itself to anything aggressive, destructive or violent.
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VH003111
1:25
Active, unsubtle, hit-filled interpretation of being shelled by mortars. Larger than life percussive ensemble that brings to mind Kodo, Duk Soo Kim, Ekome drummers or the new HGH-laden Carrot Top. Batteries of acoustic/electronic drums, orchestral percussion, surdos, heavily processed snippets of music and a marble in a metal bowl combine to create one of the easiest tracks to cut video to. Starts with halting drum passages that continually build into faster, denser beds of activity with an ascending tonal bed rising beneath them. The hit @:29 triggers a long power-down that returns to the full beat-heavy mix @:57. Insistent hits build to the piece's climax @1:12.
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VH003112
1:15
Working against the clock? Hyperactive, almost cartoony flurry of activity that suggests sped-up footage or complete and utter panic. Starting against an alarm-like bed of processed bells, processed piano creates a base of movement that is slowly built upon by muted trumpets, strings and orchestral percussion. A brief pause @:19 gives you a second to catch your breath before plunging back into the insanity. Suggesting the score for a PBS mystery series played at 200% speed, this cut works for fast cutting, chases and when you need something dignified, yet not too serious - like Alistair Cooke at a pie eating contest.
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VH003113
1:04
Supernatural Gothic Choir. This track practically bleeds arcane darkness and mysticism (and all over my new Cavalli platforms, too). Beginning with solemn men's voices while slowly adding orchestral strings/brass and women's voices, the song evokes a materialization of the Black Arts set loose upon the world. A pretty, ethereal section emerges from :31 until :43 when the big voices, metal strikes and orchestra hits bring back the evil. Sounds like Mozart's Requiem, or the scores to over-the-top action/horror/fantasy films. Good for vampires, conjuring, Halloween, or showcasing anything dark and otherworldly.
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VH003114
1:24
Intense, uptempo, driving orchestral hit-filled insanity. Heavily processed (reversed, EQd, phased and generally screwed with) orchestral brass/strings create washes/harmonic content against ensembles of metallic, wooden and electronic percussion giving the piece a sound-design-driven, Industrial feel. This cut constantly builds, getting faster, denser and ever more twisted/nightmarish. Hits create transitions from dense percussive beds to eerie, creepy breaks of atmospheric sound design (examples @:09, :29, :42 and :57) - keeping the listener off guard and slightly tense. Good for chases, fast cutting and creating unease.
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VH003115
1:11
Updated spy/international intrigue cut. Starts with two disparate moods: processed snatches of dissonant orchestral noise interspersed between delicate, mid-tempo beds of cymbalom and metallic percussion. The moods slowly intertwine until by :17 (and again @:50) they create a percussive, climbing drive towards a climax @:29, beneath a subtle but beautiful high synth melody. Features elephant-like brass noises, strings, processed screams (@:15 and :28), harpsichord, orchestral percussion, anvils and electric guitar at the top, while the second half is a slightly more subtle version until :50 when the pounding resumes. Good for investigations and combining a sense of beauty with danger.
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VH003116
1:15
Driving tension with scattered moments of shock. Nightmarish, heavily processed strings, (scraped, beaten and plucked) electric bass and metallic/wooden percussion grow in pitch, tempo and screwed-upness as they approach the cut's two climaxes @:29 and 1:10. The second half is more subtle and frightening as shifting and dissonant beds of violins get skewered by angry attacks of percussion. A brief drum break @:44 and escalating single hits starting @:55 help lead to a climax @1:10. Prog Rock-esque time signatures and off-kilter feel suggests that this cut will never talk with a girl. Ever.
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VH003117
1:06
Threatening and dark. Sampled African kalimba/marimba folk music create a movement-filled bed against batteries of African hand percussion, stamping, industrial metal springs, ominous choir, distorted children's singing, delayed Kudu (African flute) and low, doomsday-is-here brass wails (@:11 and :43). The second half provides a less dense, more neutral (even somewhat happy) mix of the kalimba section, but explodes into the tense section @:43 and goes full-throttle evil. Brings to mind popular World Music combined with Omen-like Gothic horror - good for investigations, shocking images and wholesale (or discounted) evil.
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VH003118
1:15
Nightmarish, disorienting episodes of processed vocal/choral sound design punctuated by metallic/wooden percussion and bells. @:19 more linear, driving percussion starts and drives its way to a climax @:29. The second half is more percussion-oriented with less vocal samples - all culminating in a processed glass-like explosion @:51 that introduces a percussion-heavy drive to the end. This cut, sounding like a cross between an evil/drug-twisted New Age and industrialMusic, suggests communicating with the dead, evil/possessed technology and dark/religious talk of the apocalypse.
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VH003119
1:18
Slow churning serial Trip-Hop/Metal horror with attitude. Modulating distorted electric guitar stabs, orchestral/electronic percussion, turntabled col legno cello hits (starting @:07), trap drums (in @:15), metals and processed choir samples build towards a dissonant but driving climax @:29. The cut suggests purposeful but measured activity - like being on a stake out, investigating a murder scene or waiting for a severe stutterer to say "seismographic territoriality." @:30 the cut gets sparer, settling down into a beddier version until :52 when reversed samples and heavily edited elements suggest that the cut is breaking down.
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VH003120
1:30
The many faces of orchestral/techno cinematic action. Orchestral action/suspense cue that, with each section, gets edgier and more aggressive. Starting with pounding strings/brass/percussion, building in tenor as a choir rises in pitch to a climax @:14 - the cut gets faster and busier as activity envelops the cut and we careen to another climax @:30. After :30 the percussion gets decidedly more electronic providing a bed-like flurry of movement as orchestral instruments start to re-enter @:44, slowly building to a full orchestral/electronic fury @1:07 with huge scream-like hits building to a climax.
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VH003121
1:19
All-out frontal assault. This pounding, stop/start, brass-heavy orchestral homage to attacking hordes of Huns, Trojans and Visigoths features tons of breaks and rises. Builds to climaxes @:09, :29, :52 and 1:07, with an extra build to a hit @1:11. There's an atmospheric break after :30 that features moody, reverbed, heartbeat-like hits that build in speed and density until the full mix returns @:53. Good for Gothic horror, action, millitary conflict, or big-budget health films where cancer is portrayed by 10,000 guys dressed as white blood cells storming a giant pancreas, which we're pretty sure isn't how cancer works, anyway.
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VH003122
1:26
Classic orchestral conflict. With no modern elements and a condensed dramatic sense, this piece is great for timeless or historical battles or action. A foundation of persistent percussive rhythm, accented by string and anvil strikes combined with blustering brass (in @:15) keeps the momentum strong. Strident brass blaring @:56 is great as an intro or transition, as are string hits @:39. Sonically somewhere between Bartok, Bernard Hermann's film work, Stravinsky and a blacksmith with rage issues.
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VH003123
1:20
Panic-stricken pursuit. Packed with terror-filled breathing, ungodly sounds and objects being angrily struck, this could be a chase through the jungle, a dash to defuse a bomb, or, for some of us, trying to reach our toes. Tortured voices and restless breathing kick off this cut, joined by ultra-processed vocals and ever growing percussion that really jumps in @:19. Post-:30 features threatening sound design, while @:45 a lone exhale sets up a unique breathless-rhythm section followed by a driving percussion-only segment, with breathing coming back in @1:02. Good for establishing fast, choppy scenes of terror or doing a story on phone sex.
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VH003124
1:30
Tribal futurism: a remixed fusion of Gothic Horror and Balinese/Gregorian chanting. Heavily reverbed choir chanting played over a growing, pounding bed of electronic drums, processed orchestral toms and more processed vocals which to most, sound like the distorted growling of a large, dangerous animal, and to some like someone in mild colorectal distress. Processed choir yells grow louder and more frequent. After a hit @:29 the cut falls back into atmospheric "growling" and vocal pads, interrupted by a drum hit @:36 and a return of the electronic beat @:43. The full mix returns @:50.
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VH003125
1:13
Attitudinal and kind of angry. Mid-tempo electric guitar-driven Rock that uses double-kick trap drums, drum loops, distorted electric bass and distorted electric slide guitar to suggest attitude and edgy competition. Starts with a slide up that kicks into gear @:04 and takes multiple processed remix-like breaks (@:07, :17 and :26 for example). A climax @:29 leads to a quieter kick-driven section that slowly adds more parts until the full mix returns @:53. Good for extreme sports, investigations and leaving a metaphorical "upper decker" in the bathroom of regular sports music.
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VH003126
1:11
Music for those who have loved - and lost. And then got shot in the leg, fell into the street and were run over by a steamroller. An almost Gothic kind of feel, using a harp and an ultra-pretty string-driven motif that suggests beauty, sadness - and gets progressively more tragic by adding drums, processed strings, woodwinds and then more strings until by :23 the tragedy has reached epic proportions. The second half returns to the delicate harp and string mix and offers a brief glimpse of hope until a descending harp line @:46 lets you know the suffering's not over as the cut builds to a climax @1:04. Good for interpersonal dramas or sad stories that need a glimmer of hope - before it's dashed out measures later.
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VH003127
1:14
Suspenseful percussive/techno/world cut. From the first downbeat, this uptempo cut uses a huge amount of percussive/drum/found sound samples to create a constantly moving undercurrent of activity beneath orchestral strings, trap drums (in @:57), atmospheric choir and pads. Breaks throughout facilitate easy editing (@:07, :15 and :28). The mix narrows down to a smaller percussion-based feel after :30 with several loopable sections, then slowly builds back to the main string-driven mix @:56. This cut brings to mind modern spy films, technological action, chases and also works for a modern update on horror or investigations.
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VH003128
1:08
Here's a cut that fuses Eastern and Western modalities. This cut starts with strummed acoustic 12-string guitars atop an active bed of Iraqi talking drums, tablas and a pad of bowed bass dobro. @:08, an urgent Western string arpeggio enters, accompanied @:18 by a Middle Eastern-tinged string figure and building percussion, which create more suspense until a climax @:29 reduces the mix to percussion only. @:39 we hear the string figure soloed, which leads back to the main mix @:44. Brings to mind a hybrid of Middle Eastern Pop and an almost neutral, matter-of-fact news feel.
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VH003129
1:14
The sound of the world coming off its hinges, similar to modern composers like Penderecki and Ligeti. A bed of accelerating/multiplying percussion, screeching metallic stress, processed orchestral brass/strings and huge slamming hits climbs intensely until the cacophony climaxes @:29, reducing the mix to a bed of swirling, time-stretched orchestral sounds, further broken by random hits that climax @:42. The cut then builds from a percussive bed of toms to the metallic, twisted chaos from the first half. Great for suggesting insanity, or for unnervingly fast cutting or when order dissolves into severe disorder.
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VH003130
1:23
Cartoon horror. Halloween-ish music that combines Gothic Horror, cartoon suspenseful stalking and uncontrolled brass flatulence. Using every large brass instrument we could find, including tubas, cimbasso, bass trombones and French horns, we created two moods: one with lumbering, overbearing brass and pizzicato/tremelando strings and one with childlike bells, xylophones and toy glockenspiel. As the cut progresses, both worlds merge, creating a monstrous slow-moving giant that begins pounding @:20. After a climax @:29, the childlike bells begin again, only to get weirder with waterphone (in @:37). Returns to the full, lumbering mix @:43, this time with cluster piano hits starting @:57, giving it a more comic, unbalanced feel.
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VH003131
1:19
Tense frenzy to serenity back to tense frenzy. Evokes a chase through a jungle, over the tops of buildings - or entirely in a closet, for you agoraphobic types. Huge drums, various percussion, bells, brass cluster swells and contrabass hits (the big "knocking"/slamming sounds) create bookends of flurried ticking/hit-laden action. The heavenly center section (starting @:29) of ethereal choir and bells lasts until :43, when the contrabass hits enter again, getting faster and more insistent, morphing back to the "tense frenzy" motif @1:02. Works for chases, tense decision-making or pieces with lots of fast cutting.
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VH003132
1:13
Need to build excitement/tension? Intense snatches of uptempo percussion interrupted by quick flashes of trippy, sped-up material. Surdos, toms, orchestral percussion, metal sheets, cardboard shipping containers, anvils and door slams create a bed of delayed percussion that provides constant activity, while time/pitch-shifted interludes break into the rhythm, creating a sense that something big is going to happen as, @:19, they begin to grow in both pitch and speed. A climactic hit/powerdown @:29 brings in a mostly percussive midsection, with loopable sections and dramatic pauses for single hits @:43. @:50 we return to the intense percussion with an accelerating/pitch-shifting pad growing beneath it. Good for big events, juxtaposing two moods or conveying that someone had better lay off the methamphetamixodoxtrine and other drugs we made up.
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VH003133
1:11
Some primitive culture considers this music. Some primitive music critics consider this track pedestrian and sooo 400 BC. This cut begins with foreboding ancient horns and a ton of near-authentic instruments and percussion (blown reeds, bamboo flutes, skin drums, kudu horns) fusing the sound of ancient society with modern spacial processing. @:21 (and :59) cacophony ensues as an atonal mass of horns and flutes suggests an alarm or celebration. After :29 the cut pares down to a percussion-only section, and a single blown horn @:42, that is soon joined by the rest of the ensemble. Great for suggesting age-old mysteries, conflict of civilizations or when your show host kills someone with a blowgun.
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VH003134
1:29
Drum-heavy action with horror undertones (and a hint of newsiness) starts with a bed of metal percussion and low-pitched animalistic growling. The cut bursts into action @:09 with a trap drum kit, toms, wooden percussion, beds of reverbed vocal pads and distorted udu pots creating brittle accents, and suggests something's really wrong. After a climax @:29, the cut almost disappears into a low synth drone with atmospheric processed vocal "growls." The drums re-enter @:45, slowly re-admitting the distorted accents and synth pads. After the last hit @1:06 a bed of shifting vocal pads and growls slowly fades away. Good for chases, suggesting danger or when rabid Chihuahuas attack Paris Hilton.
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VH003135
1:12
Do you like orchestral hits? This cut's got 43 of them in a minute! This ultra-tense, hit-filled uptempo cut is an update of 50's sci-fi and thriller scores, aiming not to have a dry seat left in the theater. Orchestral/percussive hits play against a constantly moving bed of delayed strings, violin glissandos, low piano and low brass - with tons of breaks, remix-like edits and - did we mention? - orchestra hits. The break after :29 builds the mix back up from a threatening/dark-feeling string pad, low piano and brass back to the hit-fest @:55. Really great for action, or unsubtly suggesting beating someone to death.
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VH003136
1:13
An ominous build of "wind" noises and orchestral instruments. Slowly rises in tension and density from low bowed acoustic guitar, processed percussion, and climbing, atmospheric strings. From this dark background, a Yali Tambur (African hand drum) creates a driving feel (@:08), while climbing strings and processed choir/vocals/blown aluminum pipes evince a growing, swirling wind noise that rises in pitch and tenor to a final hit @:29. The second half starts the build again, this time slightly sparer mix-wise. A break @:47 leads back to the main building theme @:52. Good for tornados, hurricanes, climate change or building tension.
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VH003137
1:14
Full orchestral old school tension/horror - with touches of 50's newsreel/military music. Brash trumpet/trombone/horns, pounding snares, timpani and orchestral strings create a marching, "here come the bad guys" feel as a climbing line @:23 signals the moment of truth has arrived. The second half starts with a bed of suspenseful tremelando strings broken by percussion hits and climbing low strings that return to smaller versions of the pounding feel from the first :30. Great for bringing to mind suspense films of 50's and 60s,
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VH003138
1:16
Aggressive orchestral Rock hybrid good for extreme sports, tense investigations or getting one's ass kicked. Electric guitar-driven suspense/excitement that uses orchestral brass/strings/percussion, trap drums, overdriven electric bass and processed amp noises. Driving and aggressive, this uptempo cut is always rising in pitch or tenor, especially @:20 when a drum-filled ascension builds to a climax. @:30 a bed of fed-back electric guitar delay leads back to the original guitar/drum build @:51.
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VH003139
1:12
Ever land on a future earth and find it run by apes? Ever get chased by Jerry Goldsmith (seriously, never borrow money from that guy. Ever). This scary, unpredictable and unbalanced orchestral cut features huge drums (aka "enormodrums") crashing against intermittent brass clusters, low piano bass, delayed piano meanderings, dramatic breaks/pauses, choir swells, huge syncopated drum builds (@:14, :24 and :45 for example) and beds of raw, unadulterated percussive sonic heart attack. If you're looking for a catchy melody, this 12-tone-esque track is not the place to go, but if you're looking to score a shocking, cut-filled action sequence, go no farther.
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VH003140
1:13
Rock-driven tension Distorted electric guitar, electric bass, (double-bass) drum kit, processed screams and delayed orchestral strings start the cut off with a driving feel and aggressive leanings with the electric guitar and processed string ostinatos trading off from :15. After a hit @:29 the cut resolves into a delicate solo piano with faint electric guitar-generated sound design until :38, when processed orchestral elements start being added, returning to the main theme @:56. Good for sports, investigations and reliving the 90s.
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VH003141
1:06
Here's some haiku that should sum this cut up: Fast, building tension. Strings. Drums. Many things go bang. Repeats after break.
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VH003142
1:17
Need to build up to something important? This dramatic percussion cut seems to straddle the line between news and drama - kind of like your local news anchor being eaten by wildebeest. A battery of snareless military drums, gran casa, toms and a whole bunch of other drums over low, single-note piano stabs, synth pads, choir rises and cymbal washes create an active but break-filled drum cut that uses an ascending pitch (@:18 and :49) and descending pitch (@:40) to convey emotional changes and suggest suspense.
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VH003143
1:27
Gritty, street-level urban crime piece that works for investigations, mysteries and any kind of noir-ish environment. Acoustic/electronic drums, electric guitar, piano, heavily edited violin samples and processed snippets from other VH cuts all create a seedy look into the bowels of crime (possibly suggesting diverticulitis). Starting with a straight-ahead drum-driven investigative feel, the cut features breaks @:08, :18 and :28. The second half is a more simple, foreboding mix with the drum kit and piano removed. A fake-out builds to a creepy, simple solo piano climb over pads and a heart-beat-like kick drum @:58.
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VH003144
1:16
Driving, angry, way-over-the-top take on the current frenzy of choir-heavy Gothic Horror cuts. So we won't win a technical Grammy for this semi-musical, not-all-that-phase-coherent choir-driven piece that is less Gothic choir and more furious, distorted crowd of rioters (where the vocals were sampled from). Starts with what seems like sampled/processed crowds chanting against each other, accompanied by a full orchestra. The whole cut is about dynamics: featuring larger-than-life hits throughout, builds (@:15 and :51) and a creepy, atmospheric middle section good for sad/devastated aftermaths. Good for (religious) conflicts, wars between good and evil (newsflash: good can't sing very well) and over-the-top sports stuff.
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VH003145
1:14
Technological confusion. Sick of acoustic instruments? Here's an uptempo, frantic wholly electronic track that sonically communicates the various states of destruction an over-taxed microprocessor undergoes. From the first explosive hit (the cut's full of them), the hyperactive percussion gives the impression of a million circuits working and shorting out, especially @:29 when the cut slows to a half-time feel, returning to the furious pace @:44 until the eventual end/failure @1:05. Good for computers gone haywire/evil, suggesting hectic schedules and internet breakdowns.
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VH003146
1:32
Triumphant, big positive Pop Rock/orchestral hybrid. Starts with trap drum kit, electric bass, and electric guitars, then adds sweeping strings @:09 to create a sense of positive, driving power. Has contrasting inward-looking, soft section that starts @:33, returning to a full, crash-heavy, larger-than-Leslie West section @:50. Good for image spots, sports triumphs or anytime you want to project happiness without being a wuss.
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VH003147
1:20
Majestic, grand orchestral way of telling other people that you've got an ego problem. Starting with a Copland-esque brass fanfare (trumpets, French horns, trombones), huge orchestral percussion, choir, strings, bells and low sub-bass sine waves to test window strength, the cut is uptempo and positive right out of the gate. @:21 successive hits begin climbing to a climax @:29. @:30 a brass fanfare-only mix provides either a break from the festivities or a mellower open, followed by the full mix @:44. Good for Olympic wins, royal coronations, and Presidential elections.
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VH003148
1:25
Epic orchestral pride & mystery. Starting with mysterious but positive flowing strings, oboe, ethereal women's vocals and wooden/orchestral percussion, the cut bursts into a more proud, positive feel @:13 as brass and choir tell you that you've just stumbled onto one of the world's wonders. @:32, the feeling changes to one of mystery/danger as the mix thins to feature a percussive bed and woman's vocals. A build to :44 returns to a cello-driven reiteration of the main theme, building piece by piece, to the full, majestic, orchestral version. This cinematic cut is good for documentaries, stories of triumph over adversity and exploration of any kind.
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VH003149
1:24
Optimistic, positive, feel good percussive that celebrates nature, forward movement and would work for time-lapse sequences. Starting with percussion and processed, shimmering strings, the cut builds in intensity and density, featuring growing timpani, toms, hand percussion and a huge brass swell until a climax @:29 lets the cut settle into a shimmering, blissful bed of strings and isolated wind/brass swells. Returns to a percussion bed @:43, building to another positive climax @1:08, but featuring more hits and rhythmic changes than in the first half. Good for making something feel magical, but not by threatening to encase itself in ice (like David Blaine) or make Claudia Schiffer disappear (like David Copperfield).
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VH003150
1:16
Delicate, pretty way of celebrating life's wonders. Like "I wonder what it would feel like to have sex with Santa." From heartstrings to sweeping strings, tinkly piano to fully-orchestrated epic. This slightly magical/wonderous piece starts small, but gets grand @:14 and keeps swelling to :29. Middle :30 has interlacing layers of rhythm and melody leading back to the main theme @:58. Useful for family reunions, heartfelt celebrations or romantic culminations - someday, I hope to culminate. Santa: if you're interested, call me.
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VH003151
1:16
Modern, active take on proud brass fanfares. Heavily edited brass figures pieced together with delayed orchestral percussion, rising string lines, woodwinds and delayed percussive synths all build to a positive climax. After :30, a percussion-only mix provides a good loopable bed, followed by a fanfare-only mix @:49, returning to the full mix @:55. This intelligent, movement-laden cut is good for updating stereotypical Olympics music, world news and grand announcements.
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VH003152
1:10
You asked for a positive take on the brass/orchestral fanfare. We had no idea what you meant - so we came up with this. Starting out as a positive brass fanfare with orchestral percussion, this cut is later accompanied by the sound of stamps and found percussion. But it's not happy enough. So, @:15 we add strings, woodwinds, bells and lots and lots of clapping. @:29 we provide a percussion, stamping, tambourine and clapping-only mix building to a brief break @:39. The main mix then returns @:41, but we add tambourine @:48 to ensure the HAPPY vibe. Good for suggesting mankind working together as one, taking rides on the short bus and Presidential campfires.
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VH003153
1:12
Driving, aggressive marching band provides a powerful, aggressive way of suggesting technical precision and strength. Ever see the movie Drumline? Ever go to a football game? Uh - serve in the military? Kiss using your tongue? First half divides the cadence with a call-and-response between the snares and tenor toms. After a brief climax/pause after :29, it begins again with highlights including a snare roll with tom accents building from :38 to :43 and a tom roll with snare accents starting @1:00 building to the end. Great for college sports, news, parades, military actions and halftime - but a word of warning: the Oral Roberts University cheerleaders are REALLY not as exciting as they sound.
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VH003154
1:47
Propulsive, epic Indie Rock. Angst-ridden, yet determined. Circular, interweaving guitar lines start the cut, then lock up with powerful drums and electric bass @:11 to create a mood of driving pride/determination. Gets huge @:31 with a powerful set of chords, then eddies into a pool of guitar ripples @:48. Layers of instruments keep coming in, stacking up until the final hit @1:42. Works for more conceptual image lineup spots, sports and teen/post-acne drama.
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VH003155
1:09
Big event music that demands you pay attention. From the NFL music-friendly opening horn blasts to the energizing rhythms and vocal rises, this piece is as unsubtle as hiring the entire waitstaff at Hooters to be your bar mitzvah date. :20 to :29 is an ascending brass "you can't miss THIS" section that stands on its own, bringing to mind the score from many reality TV shows or breathless, overblown 70s football music. Takes a breather after :30, but then returns to its spotlight-hogging ways @:39. Good for big events, football, award shows, or anything starting with "If you skip this episode, we will rip out your urethra."
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VH003156
1:23
Self-congratulations all around! Use this track when you want to publicize how much better you are than anybody else, but are trying hard not be totally pompous about it. Modern percussion merges with processed horns and strings for a stately, full sound. Starts indeterminately, with floaty elements that converge @:10. A low hit and whoosh starting @:31 set the stage for a full blown self-love affair that will continue for about another thirty seconds.
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VH003157
1:26
Positive, light modern rock/orchestral hybrid. Maintaining a pulsing, driving feel throughout, the cut begins with strings, toms and trap drums overlaid with light, almost angelic processed woodwind figures, glockenspiel, piano, building electric bass, string pads and strummed electric guitars. Gets bigger @:15 building to a brief climax. @:30 the mix pares down to soft drums and an electric bass pulse that slowly builds back to the full mix @:55, but this time uses driving bass and low piano to create more of a insistent feel. Good for light news, inspirational stories and overcoming the odds.
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VH003158
1:22
They kiss, and cue strings. Good. Fine. Stop. Really, ENOUGH with the f-ing strings. Sweeping, swelling, traditional orchestral piece that's lusher than Lindsay Lohan's mom when I took her to prom. Last week. Great for romance, soap operas of any flavor, or emotional homecomings. Sounds like it could have been written fopr any larger-than-life romantic Hollywood score. Gets super-happy @:20, while a tender section from :31 to :53 provides respite from the overpowering sugar of this one.
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VH003159
1:14
Soft-spoken positivity. Ethereal, pretty cut that uses half synthesized/processed sounds and half acoustic to create a subtle uplifting build. Piano, processed guitar, glockenspiel, brass, tambourine, orchestral drums/percussion and strings create an inviting, delicate bed with hints of movement that suggest an emotional attachment to the subject matter, like watching your child grow up in fast motion. After :30 the cut builds again from spare, shifting pads, but gets slightly newsier/less personal after the drum break @:49 with driving strings and more insistent rhythm. Trippy moments suggest that this cut would be good for time-lapse shots, dissolve-heavy reminiscences or looks back at times that had profound emotional impact on all of us.
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VH003160
1:11
The pain of heartbreak - and overcoming it. Warm and inspirational, yet slightly newsy and neutral. Starting with introspective strummed acoustic 12-string against an atmospheric string/synth background, drums and melodic swells enter @:12 giving the impression that someone is healing. After a build starting @:24 and climax @:29, the cut pads out to an atmospheric bed, adding more elements until @:45 it returns to the main mix and gets ultra-positive @:51 letting you know that things are better now.
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VH003161
1:12
Newsy, yet slightly proud/inspirational orchestral cut that suggests something uplifting is going to happen. Starting with a bed of pulsing strings and a simple string melody, this cut builds in steps - first @:09, adding more strings; and then a full orchestral mix @:16 adds brass, winds and larger percussion. A news-like bed after :29 creates a neutral feel until a solo trumpet enters with the melody @:35 (with hits @:41 and :50), and the cut returns to the main theme/mix @:51. Good for events that have high emotional worth, like the Olympics, shuttle launches and important (but slightly uptight) events.