00:00 00:00
relax or die
LC 12350
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1998-01-03
:
2022-11-07
Light drama, but still disturbing
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VH001001
1:21
Your wife leaves you for an otter. A steady mechanical drum beat, synth pads, modern-folkish gentle acoustic guitar and electric guitar remind you she's gone. But @:32, a subtle, techno-esque feel enters, creating a bit of tension as you remember she owes you $240. @:44, the guitar leaves, replaced by a light techno beat - but returns @:52, becoming more driving.
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VH001002
1:06
A stop-start electronica-esque combination of radio tuning, analog synths, machine sounds and various electronic sound design elements. A hard-driving track that feels like a futuristic cop show theme or the sound of a washer/dryer filled with crappy techno artists. @:29 a big bang stops everything, building back up to a catastrophic rinse cycle of death @:45.
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VH001003
1:05
Dramatic slower-paced Celtic music. Imagine chasing that 'Riverdance' guy down and bludgeoning him to death with his own tap shoes. Mandolins, an acoustic guitar, various hand drums and percussion build to create moderate tension. Ends @:29, but starts again @:33, building to a climax @:59. Good for stories about foreign crises and potato famines.
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VH001004
1:06
A technology/drama bed, featuring pots and pans we had in our kitchen (most still with food on them) and metallic synth sounds. Straightforward and mechanical, this piece provides a neutral, steady beat to cut a hard news/computer piece to. A big break @:29 gives you a good in/out point.
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VH001005
1:05
A percussion-heavy orchestra provides a driving, proud background for political spots, station IDs, or any story with the word "posthumous" in it. Loaded with edit points and hits, this just screams "NEWSY" - which makes it great for music with a lot of fast edits, but a lousy conversationalist. Has a big percussive ending which starts @:54.
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VH001006
1:08
Dangerous and atmospheric without sounding too New Age-ish. Nothing says light tension and drama more than a delayed piano, a bunch of distorted guitars and a slowed menacing drum beat that starts and stops throughout the piece. Hits, great edit points and subtle mood changes abound, letting parts of this piece fit almost any copy.
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VH001007
1:03
Looking for cartoon music? A frenetic xylophone, a wah-playing trumpet and a bunch of woodwinds put you squarely under a falling anvil. Bounding back and forth between animated 'sneaking', full-tilt chases and then back to sneaking, this puts you in the mood for wondering why the Coyote could buy every Acme product - but never could get a damn pizza. (Note: do not play this on a date. BIG mood-killer.)
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VH001008
1:03
A Big Beat experience that involves drum loops, bass and synths that have been heavily distorted, phased, flanged and sent to drug rehab programs. Driving and aggressive, this piece offers many edit points to start or stop at. Starting its manic pace @:07, it grabs your attention and switches the rhythm up slightly almost every :10 or so.
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VH001009
1:28
Atmospheric and light with plenty of movement, featuring wispy female voices and delayed tuned percussion. Good for stories that need an air of hopeful mystery - like a missing political pundit. The pace picks up a bit @:47, and tension builds as the instruments grow louder, and the singers begin to hyperventilate. Good for investigations or New-Age-ish stories.
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VH001010
1:21
Grab the Tabasco sauce, start eating various bottom-feeding sea life and take a happy stumble down the streets of New Orleans as a live accordion, piano, tons of percussion and at least four pints of grain alcohol all combine to make this a happy, entertainment-y piece. For those allergic to accordions, a short Cajun-ish percussion bed starts @:30, and then falls back onto the main theme @:39.
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VH001011
1:14
This driving, techno/artificial sounding collage of harsh guitar feedback, grinding metal and computer-esque sound design is great for internet stalker stories or clearing the dance floor at parties. A synth-bass and drum bed provides a steady rhythm to cut to, while musically, the feces hits the fan. @:32 it gets psychotic-er and even more evil. Not a tune you'll walk away humming.
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VH001012
1:14
Folksy, sad and serious (kind of like a depressed Ross Perot) this slower-paced piece uses piano, acoustic guitar and vocoded synths (in @:21) combine to create a haunting, sad bed. An abundance of creaking hits starts @:32, making the second half slightly darker than the first.
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VH001013
1:07
Promo-friendly roots-pop. @:30 a lighter, laid-back version starts out with an organ-driven bed and then gets back into full swing @:44. Good for morning shows and anything that involves those damn 'Up With People' guys.
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VH001014
1:09
Want 'over-the-top' spy music? Try some 50's surf guitars, a driving drum beat and dark synths. But that's not all. You'll also hear tons of speaker-threatening crashes, twisted guitar hits and a percussive end-of-the world thing starting @:44 that ends with the drummer exploding into tiny globules @1:00.
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VH001015
1:05
Promoting the end of the world? Look no further. Orchestral and grand with a majestic 80-voice choir, this piece lets you know something of world-shattering proportions is going on - or that there's one hell of a sale at Macy's. Filled with tons of hits and stings. The second :30 builds more slowly than the first, but by :54, it's running full throttle towards disaster.
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VH001016
1:09
Lonely country/world beat music. The sun sinks behind the scattered tombstones in a prairie graveyard. Ticking wooden percussion, udus, synth pads and gentle guitars take you through the pain of losing a loved one - and the pain of noticing that they spelled your dead uncle Bob's name with two "o's" The second :30 features more driving percussion with a fuller sound.
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VH001017
1:11
A relatively neutral technology bed that uses light, percussive synth voices, conveying a sense of mystery and light suspense. After :32, the mood becomes a little darker as the tension mounts with arpeggiated piano and a multitude of synth washes - until :48, when the tension builds to a head as larger hits and a more driving rhythm begin. Good for investigations and stories that your lawyers are afraid about being sued over.
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VH001018
1:04
A hard news music bed has too much to drink at a party and mates with a happy morning show theme. This fast tempo-ish piece uses guitars, piano and tons of drum loops providing a bed that carries the day's stories right by. @:29, a slightly more driving drum and guitar bed starts, returning to the main theme @:44. News doesn't get any happier than this - until Yanni spontaneously bursts into flames.
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VH001019
1:20
Supernatural / sci-fi mystery. Based on a percussive synth ostinato and basic beat that gets more pronounced @:14, this one's good for illustrating the feeling that aliens have been in your house and have left the toilet seat up. @:42, a percussion bed builds into the main theme, which hits @:49.
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VH001020
1:12
Shhh. Caring, hopeful kind of vibe. Soft-edged synth pads, acoustic guitar, and a lite drum bed give you the feeling that the world is good and not even bullets could hurt you - unless they were fired out of guns. Vaguely reminiscent of very early morning show music. A more drum-heavy mix starts @:34.
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VH001021
1:07
Driving, orchestral, newsy theme. (Three adjectives in a row - isn't that enough?) Piano and various percussion instruments provide even more forward momentum than your average TV-watching person should be exposed to without protective headgear. @:34, a more aggressive, dramatic variation on the theme begins. Good for show opens, elections or presentations.
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VH001022
1:20
A plodding, calculating suspenseful cut combining four different time signatures (like you care). Plenty of movement and staccato hits make this a great way suggesting that something dangerous is just around the corner - like a new 'Gap' or 'Starbucks'. @:31, a lighter jungle beat kicks in, and the mood gets a little more urgent and driving. Good for investigations and mysteries.
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VH001023
1:12
Semi-dark and clangorous, this cut imparts a feeling of disorientation and mystery, which would kick ass for pieces that deal with skeptical investigations, like "does using a flounder as a suppository cure cancer?" Tons of synths provide movement and hits at the right places, creating an abundance of edit points and a bunch of mood changes. The world's shortest theme starts @:21 and is over by :29. Weird.
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VH001024
1:17
Acoustic guitars, synth pads and drum loops create a spot that's subtly light and pretty - yet strong enough for a man. A Sport Utility Vehicle commercial track - at least one that doesn't involve lots of mud or hapless pedestrians being run down like dry grass. More like the ones that have overly brilliant, slow-motion shots of the vehicles on cliffs and next to lake shores. @:19 the drum loops come in. @:47 the drums take over, creating a bed - then the guitars come back in @:57.
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VH001025
1:04
Another in-your-face Big Beat cut using aggressive drum loops, distorted vocal samples and every electric bass we own - all used on one track. A beat-heavy, nightmarish collection of sounds that we guarantee will make your spot stand out and will leave no seat unsoiled if played at high volumes. Good for investigations and violent sports. The violence lets up for a short time @:28.
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VH001026
1:18
Something is really wrong here. Weird, reversed bell-like synths combine with droning pads and drum machines to create an uneasy atmosphere - replete with hits and synth sweeps. @:33, a steady drum beat comes in and makes it a little more straightforward until 1:00. Useful for stories with a sci-fi edge or with a unsettling undercurrent of danger.
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VH001027
1:11
Big and important sounding, but with a tiny, eeny bit of street cred left (imagine James Earl Jones rapping with Puff Daddy). A full brass section and driving rhythm make this piece perfect when you have a newsy story but don't want "news music". Breaks down into a useful piano bed punctuated by large hits @ :31 then returns to the full theme @ :46.
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VH001028
1:06
Something dangerous is living in this sandwich. Reversed mutated bass, tons of found percussion and metallic hits galore make this an eerie, frighteningly suspenseful piece. The addition of a snare line @:10, gives it a 'military investigation' feel, also. Gets a little more rhythmic during the second :30, ending with a bang @:59. Good for the threat of impending evil - or the release of a new Hanson album.
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VH001029
1:19
Measured and even, delayed bell-like piano and various percussion create a bed for serious events and investigations. Vocal synth pad washes suggest images dissolving in and out. A slightly heavier mix featuring the piano starts @:32, and builds up to an even bigger mix @:40. The methodical feel of this piece seems to impart the passing of time - or wind. Neutral but dramatic.
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VH001030
0:35
Harsh and dramatic, this piece uses analog synths, radio tuning, and drum loops. It begins with a slow build up, until :10 when it explodes into a fast-paced stop-start electronica-esque carnage fest. Good for fast paced videos and when you want to literally hammer into your viewer's mind that something dramatic is happening. Good for gritty investigations or sports. Or gritty sports investigations.
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VH001031
1:07
Dangerous, melodramatic - with a pinch of sadness. Yes, it's another delayed harp, piano and drums piece - but this time in another key. It builds until :19, when the drums really kick in, the synth pads build and the tension mounts. @:29, the piece climaxes and starts again, only this time with more drums and percussion. Good for missing children pieces or when the poor are wronged by The Man.
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VH001032
1:05
And beat we did. We struck every single pot, pan, utensil, metal item and marketing manager (sorry, Betsy - it was an accident) we had as percussion. The result is a mechanical, clock-like percussive track that is a cinch to cut to - and provides enough rhythmic change-ups so it doesn't get boring. The perfect neutral bed, this should come in handy when you need tons of movement - but absolutely no implied opinion whatsoever.
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VH001033
1:06
Lots of movement and drive. Sure, it starts out like a VideoHelper piece with delayed synth arpeggios and drums providing a propulsive background - but then we take a turn for the Aaron Spelling @:20, when a guitar player lets us know that the 80s aren't over. Good for entertainment news or soft news investigations. It ends, kind of, @ 1:00.
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VH001034
1:08
Heavy distorted beat, synth pads, electric guitar screeches, machine noises and percolating analog synths all create a slightly threatening mechanical pulse that works for 'dangers of technology' stories or corporate industrials for companies that make toxic waste. @:32, the guitarist stops playing the guitar with his tongue and takes a break - only to start again @:47.
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VH001035
1:07
With tensions heating up in the MidEast, here's a semi-authentic clock-like bed featuring an Oud, Saz, Bouzouki and some Middle Eastern percussion. Starting with a mid-tempo bed that gets fuller and more tense, it climaxes @:29. @:31, it starts again, this time with synth pads and delayed piano. It gets really big @:47. Perfect for that "Crisis in the Middle East" promo we're always getting ready to make.
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VH001036
1:06
Opening up with heavy analog synth sounds, organ and various drum machines - this cut starts with a couple of heavy downbeats, then bursts into action @:05. Good God, are there a lot of hits in this piece. Good for adding the gritty 'life on the street' feel to footage, or just letting your viewers know that the local Brownie Troop can't be f'd with.
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VH001037
1:28
Ah, yes - the 60s. We broke out the twelve string guitars and Hammond Organ and wrote a song that reflects that decade's optimistic side. The second :30 features a slightly different melody, and @:59, there's a light drum bed, followed by a heavier section @1:11. Good for morning shows and really happy, light news.
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VH001038
1:05
Semi-spooky, semi-threatening bed that could be used for hard news-provided the anchorman is Jigsaw or has an eyebrow ring. Starting out with a slow-paced, methodical collection of distorted drums and sound design-y elements. The piece explodes @ :32 into a faster-paced methodical collection of drums and sound design-y elements.
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VH001039
1:37
Good for technology stories with a slight element of threat or danger to them. Filled with blips, bleep and blorts from a variety of analog and digital synths, this piece has a lot of movement, and plenty of hits in the first :30 - while the second :30 is more bed-oriented and melodic. @1:01, the piece takes another turn, with the explosive hits coming regularly after 1:18.
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VH001040
1:04
Sweet, tinkly and pretty, this piece uses drum machines, digital synths, a sampled acoustic guitar and piano to give you the feeling that everything's allright - or a feeling of acute nausea. Good for stories that you want to give a feeling of warmth, or hope.
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VH001041
1:07
Future martial-arts combat. Machine-gun electronic bass, manic drums and a screaming synth lead. Calms down for v/o @ :09, but comes back big @ :20. A heavily processed drums-only section starts @:42 and continues to :54 with a frantic finish.
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VH001042
1:05
Very newsy and increasingly tense up to :30. Delayed synth and a steady rhythm make this a great "Hey, this isn't so good and we should pay some attention" piece. Drums in heavy @ :50.
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VH001043
1:10
Scrapmetal metal. Grinding, twirling guitars with high-frequency industrial noises and a drummer who's all over the kit. Takes a rest @:20 then comes in with a heavy headbanging riff.
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VH001044
1:08
Just you, satin sheets and the Schlitz Malt Liquor Bull. Mellow funk beats, sultry rhodes, and down-low bass with wah-wah and acoustic guitars in @ :20. Sleekly vocoded beats in @:33 are joined by a mood-enhancing organ.
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VH001045
1:05
Slow, dramatic opening with pads and spare tom hits. Gathers momentum like a storm building. A clean electric guitar enters @:15 with distorted accents filling in the gaps. Big beats come in @:31 with the rhythm changing again @:37.
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VH001046
1:07
A churning, fast-paced bed of synths with a hint of tension and mystery. Big hits and rapid keyboard playing propel this track forward. Loud guitars come in @ :50 for the payoff. Good for investigations and medical danger pieces.
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VH001047
1:11
Time is running out and technology is threatening to end your life. Or at least your Twitter account. Spooky layered synthetic drones, rapid mechanical, clock-like ticking and giant banging noises are guaranteed to scare you more than, well, something really scary. Not very descriptive, sure, but my boss keeps saying all the previous jokes have been too offensive. Atmospheric and relentless with plenty of wild sound design, save this piece for your most frightening stories.
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VH001048
1:07
Straight-ahead bass and drums make this track useful for almost anything: image spots, entertainment stories, or Presidential "Home Videos". Really picks up @ :20. Second half has much more motion and percussion.
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VH001049
1:24
Melancholy guitar, bells, woodwinds and light percussion set a subtly heart-breaking tone. Imagine lovers pining for each other, children with incurable diseases or having dinner with Jerry Springer. Breaks down to solo guitar @:33, but the band gets bored and comes back in @:44.
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VH001050
1:11
A forceful, almost marching-like beat and steady bass-line are punctuated with a rubbery guitar after :10. Slightly tense as if there's definitely something not right, but we're not all going to die. Drums really get going @ :41.
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VH001051
1:05
A cinematic orchestral piece that would accompany a slow pan of the North Pole - until the camera finds Santa's condo/workshop @:14, then the camera pushes in closer to the window.... and sees Santa on the couch with a beer and an undershirt. Ends momentarily @:29, then the piece starts really starts building @:40, towards the big finish @:59. Good for happier Holiday stories or pieces involving children.
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VH001052
1:32
Something big and threatening on its way? Hard-edged drums and grinding guitars create a straightforward driving feel to this piece, making a cinch to cut to. An alternate remix starts @:32, starting with the drums alone, and then growing from ominous to fear-inducing pounding. Good for edgy investigations and sports.
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VH001053
1:10
Confused and a weirdo? This cuts' for you. Bubbling synth bassline, synth pads, random sound design and East Indian percussion. Washy guitar and synth pads throughout also give it a subtle mysterious feel. Good for entertainment spots and light investigations. The groove really gets going @:42, when a happening drum loop and guitar make things a bit more funky.
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VH001054
1:03
Fast-paced chase music that's more like an all-wheelchair chase through a nursing home. Synth percussion and reverbed drums build in intensity until :15 when a wheelchair has a blowout, and a machine-like loop slowly lets the tension build again to a climax @:29. The second :30 provides more of an active bed. Good for investigations and quick-hitting montages.
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VH001055
1:07
So you drop a tab of acid and float along with some weird-ass distorted guitar, thumping and some spacey synth pads, @:08 mid-tempo drum loops join in which slowly start building in drama, until :31, when you hallucinate that a giant eggplant is trying to kill you - and the chase is on as driving drums and bass kick in. Happens to everyone. Good for scripts that need a quick change in mood, bad acid trips and action movies.
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VH001056
1:29
Relaxed, gentle music, reminiscent of coming home after a long trip - and finding it filled with a bunch of mildly sedated folk musicians. Acoustic guitars, piano and light drums create a pastoral picture of Americana with waving grains and out-of-work antelopes. Good family-oriented lyrical music that is versatile - usable for both happy and sad stories. Very relaxing - trust me. I've just listened to it 20 times.
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VH001057
1:05
With a name like this, at least you know it's not a love song. A buzzy synth line is accompanied by strings, electric guitar hits and a driving drum beat - played by an otter. @:09, the drums come in and @:39 a low, dark electric guitar chugging starts, which builds to a climax @ 1:01. Good for cop stories or chase scenes.
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VH001058
1:06
Don't know what reverb is? Listen to this piece and learn. Slightly tense world music-ish piece with movement-a-plenty. Artificial-sounding guitar, strings and synths are slathered in reverb, which gives the spot an airy, other-worldly feel. It builds in intensity @:16 when the beat gets more driving. And for those who prefer weird, @:31 a strange analog synth radio tuning burble provides accompaniment.
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VH001059
1:07
Good for martial-arts movie fight scenes - or when your on-air anchor is having a violent reaction to medication, this urgent, fast-paced cut uses synths, wah-wahed guitars and drum machines to sound like an 80s video-game song on mild muscle relaxants. The drums kick in @:09 and a sense of light tension builds throughout, amid movement and energy.
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VH001060
1:13
Yeah - another zany, cartoony piece. Wacky woodwinds, happy horns and a xenophobic xylophone (well, fine. YOU think of a better alliterative adjective, smart guy) give you the feeling of a bar-mitzvah band that hasn't been attending its AA meetings. @:45 the piece begins to build to a churning, chugging, havah-negila-playing ending - that really gets going @1:00. Great for entertainment spots and any situation that involves the possibility of having an anvil dropped on your head.
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VH001061
1:14
Neutral tension. A little tenser if you're named 'Dave,' we suppose. Exciting spy music that gets exciting-er @:12 when more synths, distorted electric guitars, delayed percussion and drums signify that the secret agent has arrived. @:31, the piece falls into a more tense drum-heavy bed. Good for sports and action.
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VH001062
1:52
Aliens from the 80s are slowly taking over the planet. Dark, delayed percussive rhythms, accentuated by hits and an eerie melody (in @:16). The beat gets more mechanical and evil @:30 - and then super-duper evil @:55. Good for suspense, danger and anything to do with those damn 'Olsen Twins.'