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welcome to the dramadome
LC 12350
:
2012-11-29
:
2022-11-07
A big, bombastic and brutal collection of over-the-top action/suspense/drama cues for the end of the world! Good For: Epic Drama, Trailers, Action
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VH004401
1:19
Attitudinal Synth-Orchestral Rock-Popstep. A dramatic, sleek gene-splice of chiming guitars, explosive synth/drum hits and a churning, rising tsunami of sound suggests a futuristic cityscape and liquid-mercury-dipped otters (the sleekest gene-spliced pet of the future). Swarms of pizzicato strings and staccato synths @:31 create a tense bed of movement, building suspense with smaller hits starting @:46. Bursts into a storm of distorted, zappy Dubstep synths @:57 sounding like an army of angry, emancipated Roombas. Good for building up drama, violent sports, film heroics, Satanic raves and elephant spider pigeons (the messiest pet of the future).
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VH004402
1:21
Two worlds collide. Angry, attitudinal and accelerating, hit-filled hybrid of trailer-ready Gothic choir and Hard Rock, appropriate for flashes of violence, escalating tension, generating excitement or quick-cut teasers. Percussive hits alternate against rising choir and mix with buzzy synths, drums and electric guitar squeals, like different ideas being smashed together until one is pregnant. After a brief bed of calming dulcimer @:30, both worlds combine to create a slam-filled, climbing Goth Rock crescendo with a Dubstep-esque synth bass in @:41. Extra whoosh-to-hit at end.
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VH004403
1:54
When something personal and heartfelt gets overwhelmed by technology. Like sexting. Starting with bittersweet dreamy, jigsaw-like piano phrases, the cut slowly piles on delayed guitars, electronic drums, synths and ticking machinery so that by :21 it becomes a rush of impersonal, complex information without a trace of humanity. After :30 the cut returns to the organic feel with a longer struggle against the technological complexity which prevails @1:25. Good for suspenseful tech stories, slowly losing our humanity in a world of machines and accidentally sending pictures of your junk to your mom.
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VH004404
1:19
Epic, epically-orchestral epicosity. (OK, can we all please stop using the word epic now?). A giant-sounding orchestral theme places meaty brass chords over swirling, urgent strings, with a huge choir soaring above it all. The CGI army stretches as far as the eye can see, and it's about to charge. If The End of the World meets the Beginning of Time and The Final Showdown for dinner, this is playing during the dessert course. Is great for imparting a cinematic sense of scope and features one of the hugest endings of all-time starting around 1:03.
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VH004405
1:17
Stakes are high in this 2010s anthemic Indie meets 1970s Arena Rock track. Opens with a bombastic pulsing keyboard rhythm over drums and bass, then throws out a thoroughly modern synth riff @:12 to slap you into the present. Big strings pile on the drama, especially from :53 on. Works for consequential dramas like "One Man Against the Odds", "This Blue Wire Better be the Right One" or "My Mother from Boca is Staying with me for A Year".
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VH004406
1:48
BAH-BAH-BAH-BOM! say the drums and bass instruments repeatedly, like a rhythm section on a bender, while the piano and orchestral strings plead with it to put the flamethrowers down as the tension and suspense mounts. The drums drop out from :32 to :58, before coming back with a vengeance for a hugely dramatic orchestral finale. Never a dull moment with rhythm sections, right? Good for Movie-of-The-Week melodrama, reality show finales and woindering: where are these people finding flamethrowers?
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VH004407
1:26
A moody melody with a driving rhythm and a modern sensibility that wears its heart in your face. Tinny, heavily filtered and delayed guitars throb over echo-laden piano and big-sounding drums. Super emotional right after :30 with a bunch of drunken self-pitying leading to a self-destructive hook-up and regrets in the morning. Finally gets some swag back @1:06 for one last go around before it kills itself. Perfect music for a sad love scene between two people with awesome battle scars.
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VH004408
1:40
An uptempo Electro/Orchestral shootout in a modern dance club. Stuttering, remixed cellos and double basses, electronic drums, synth bass and delayed guitars create a shifting, driving four-on-the-floor rhythmic bed for four-on-the-floor kicks and huge disruptive synth/percussion hits. You can see the bottles and glass being shattered by bullets - as well as the DJ taking one to the head @:28 as the cut drops to a complete stop. The cut provides tons of loopable beds after :30, slowly building in tenor until the explosion-laced theme returns @1:18. Good for technological thrillers, chases and slapfights.
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VH004409
1:33
Driving dramatic percussion with musical accents. This is pure chase-scene percussion - non-stop until :30, off and on from :30-:57, then manic until the end. Big hits and textures punctuate throughout, to maximize the tension. Great for big events, things exploding, fast-paced sports and even better for needlepoint - because you clearly need all the excitement you can get.
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VH004410
1:09
Mechanical creepiness. An evil virus is coming to aurally infect us all, like ear chlamydia. Stuttery, glitchy and atmospheric clockwork-like build starts/stops through the first :18 with muted guitar strings, plucked pizzicato strings, rattling bells, machine-like rhythms, feedback and low synths. After :19 (and :50), the cut kicks into a more driving, threatening feel. A dropping high-frequency bomb @:30 suggests even worse things coming - like another :30 of this damn cut. Great for computer hacking, technology gone wrong and mysteries.
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VH004411
1:18
Big Strings! Big Horns! Big Drums! Big Deal! We're Not Sure If We're Being Sarcastic! Anyway, whatever it is, you will probably die if you don't pay attention to it. This orchestral drama-fest says that the news channel just came up with a new graphic for the current blizzard/ground war/sex scandal. The touches of techno, esp. @:35, say robots may be involved. Damn you, robots! Great for conflicts, fights or battles of any kind - from Jets vs. Patriots to Stacie vs. Staycee to my mom vs. everybody. Choir, in @:57, adds just a note of extra bigitude.
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VH004412
1:14
Mysterious Southern Gothic Rock. Weird, bloody things are happening in a small town. A steady rock beat, a lilting melody, swampy guitars and threatening big-cat-like growls all paint a sinister, disturbing picture of life after dark. Backward clips of melody haunt the fringes of the mix. The section @:31 is tense and provides a good setup for the return to the theme @1:00. Upbeat and odd, this could be the theme song for shows about paranormal detectives, the dangers of supernatural dating or smiling, murderous carnies.
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VH004413
1:36
Does your bad-ass attitude need some extra bonus swagger? The first 30 seconds of this track strut about like NBA Peacock Rock Stars and are all about big hard rock power chords and big beats. Then, apparently, the band drops acid and goes to space, with electronically altered voices, trippy echoes, and sci-fi Moog buzzes over a small string section. @1:11 they snap back to reality, but with a feel change, finally finding their happy-stupid place @1:21 to make their triumphant return to Earth with more hard rawk. Who wouldn't find money to fund the space program if it were this fun? Enjoy this with sports, action, dramas or pretty much anything that needs a little juicing up.
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VH004414
1:23
Growth gone crazy. Pulsing minimalist 7/8 strings, electric guitar power chords, horns and big, pounding drums build linearly to a crescendo @:30. SO MANY THINGS ARE BLOWING UP. Then it's quiet again, the strings are pulsing, and a lone woman sings placidly in the distance against a bed of shifting, undulating synths/strings, suggesting a technological utopia. After a drop @:50, drums/guitars explode back with a vengeance, with brass and strings fighting for relevance/space in the mix. This song punches the concept of subtlety right in its damn mouth.
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VH004415
1:18
Driving Drama Rock. Grunge/Metal power chords bring Nordic, angsty melodrama to this driving, anthemic depiction of conflict and betrayal. Starts with percussive hits, twisted/backwards piano and suspenseful, ticking hi-hat which @:08, explodes into huge drums, electric guitars/bass and @:15, a plaintive male vocalist who seems to have forgotten the lyrics. Tons of breaks, changes and emotional climaxes, making this cut good for sports, dramatic action and tension that escalates into violence.
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VH004416
1:33
Surprise-filled, disturbing concussive violence perfect for disaster movies, scenes of zombie-driven destruction, shotgun-loading accidents and any episode of Bridezillas. Alternates between delayed, delicate beds of mysterious processed woman's vocals (@:34 and :53) that get crushed beneath the boot heel of angry, lumbering, dangerous end-of-the-world percussive/orchestral/synth hits. Attitudinal cut good for boxing matches, conflicts and nightmarish contrasts - like what I think my baby looks like and what it actually looks like.
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VH004417
1:32
Need to give someone a sense of urgency without scaring the living crap out of them? Or suggesting time passing/growth? Well, try this climbing anthemic Pop with delayed, muted guitars, strings and piano that creates a river of movement above pulsing electric bass, acoustic drums and low synths. And get ready for goosebumps as the mix becomes driving and fuller @:19. The second half builds similarly, but adds a soaring e-bowed electric guitar @:51. Good for image spots, light investigations, time-lapse footage and egotistical corporate videos.
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VH004418
1:16
Deliberate, plodding orchestral Metal joined by a choir singing in Atinlay Akefay. Opening hits set the stage for chugging strings, distorted guitars, blaring horns and kettle drums to stomp around like angry giants, in case you didn't get their subtle hint about the end of the world. Has a vaguely Middle Earth feel to it, as if you should be holding a sword or a wizard's staff while listening to it. And no, we don't have any idea what the hell anyone is singing and we WROTE it.
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VH004419
2:27
We take something beautiful and delicate and then stomp the living crap out of it. Angry, propulsive and headache-inducing, this cut goes from mysterious, atmospheric beds of relaxing intertwined pianos/percussive metals to a stabbed-in-the-head, attitudinal over-the-top brass/percussion-driven assault @:11. Not enough? We'll add a rising, stuttering tone @:21. Perfect for wars, final confrontations and one-sided fights, like a heavyweight boxer versus an avalanche. An avalanche of hungry lions. After :30, an extended delayed, dream-like, time-passing-esque bed of ominous rattling metals and atmospheric hits crashes into a series of hits @1:46 and world-ending chaos @1:59.
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VH004420
1:08
If grizzly bears listened to post-rock electronic indie, it might sound like this ("Cubstep," maybe?). A heavily percussive, disorienting, hyper-busy track, full of staggering, glitchy Electro beats, big sampled drums, staccato strings, and a call-answer feel @:19 between distorted noise and a growling bass/filtered baritone sax riff. Good for spy stories, technological disasters, drug-induced hallucinations/paranoia and fever dreams.
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VH004421
1:39
Ever-building Gothic orchestral drama with a cinematic scope and a taste for vengeance. Woodwinds and strings play neurotic arpeggios while the low brass blats out menace and the drums (in @:14) lead us on to war. Distressing visuals evoked include dark superheroes, centuries-old conflicts, and Steve "Bro" Jenkins, our aggressively touchy intern. Has a massive build to a battery of hits until 1:00, when the low instruments build some suspense before things speed up again. This is music for villains who look so cool in their black, shiny armor that you forget that they're about to kill you.
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VH004422
1:30
Modern emotional drama with a twang. Lonesome tremolo guitars, filtered through delay and reverb, croon over a driving drum beat that kicks in @:19 as electric guitars quickly ramp up the drama. Good for emotional conflicts, inner struggles, or a Western showdown in the future. After :30 electronic sounds imitate something trying to start, while the following slow section is as languid as a hot desert night. But don't worry, this is America - so the bullets definitely start flyin' again @1:02.
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VH004423
1:53
Frightening, tense and horrifically awesome - as if Hitchcock were our first undead president. A dark, industrial-sounding beat leads the way for an aggressive low-string section riff that sounds like you are frantically escaping an alien invasion or zombie coup. Features two smaller, taut sections - the first @:31 with bubbling tension and the second @1:02 with pulsing classic-horror synths, all the better to scare you with later.
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VH004424
1:19
Technically complex Prog Rock + angry stabs of Metal = nerd revenge! Classically-tinged guitars/synth arpeggios combine forces with an overly-dramatic orchestra to create fast, frenetic waves of activity that coalesce into a tsunami of musical aggression. @:16, pounding four-on-the-floor drums and staccato brass suggest world-changing events, like when they cancelled Firefly or killed Aunt May. Second half features a build to a spree of huge orchestral/drum/guitar hits. Good for technological disasters, espionage and making someone pay for those wedgies in eighth grade.
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VH004425
1:10
A start/stop, delayed electric-guitar-led open intro leads into an anthemic Hard Rock/Grunge explosion @:11 with driving electric bass/drums pounding their way into your sinuses, suggesting sports, dark revenge and that "pounding their way into your sinuses" isn't tremendously descriptive. Other moments in this Drama Rock track include quietly tense, ping pong bongo drums @:30 and fuzz bass @:46. Like a darkly comic film scored by your favorite college Post-Punk Indie band.
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VH004426
1:35
Dark technological/psychological tension that escalates into slow-motion violence faster than a whale family Thanksgiving. A bed of slow heavily filtered guitars and electronic drums over ambient piano sounds and a pulsing synth rhythm explodes @:16 into a wave of drum-driven drama. After :30, a bleak, suspenseful bed of synth pulsing and back-tooth rattling low brass atmospherics explodes back into the drama @1:02. This is music for the middle of the night, when you find yourself making explosives, having illicit sex or crying. Maybe all three.
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VH004427
1:16
This evolving, building track sounds like a bullet train hurtling through a futuristic cityscape. Imagine 1970s minimalist orchestral music made much bigger-sounding for modern sensibilities. Slightly hopeful and even celebratory, gated/pulsing orchestral string arpeggios get more complex and involved, while large brass swells/ hits provide accents and climaxes. Suggests industrious activity, growth, complexity and the promise of tomorrow - but "tomorrow" like the future, not tomorrow like Thursday, when I have to get a bunion removed. From my forehead.
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VH004428
1:27
Tough but upscale attitude good for procedural cop shows, gritty sports or when you've pushed Yo-Yo Ma too far. Climbing orchestral strings and synths pulse over mid-tempo heavy Hip Hop beats, suggesting a beating/drug test is on its way. After an inspirational/grand crescendo starting @:21, the cut climaxes @:29, where a nearly subsonic bass note attempts to attract whales and horny antelope. Second half builds in suspense and tension, with various fake-out endings (@:45, :55 and 1:17). You can almost hear the bullet casings hitting the ground in slow motion.
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VH004429
2:10
Aggressive orchestral/Techno assault. Skittering, processed strings/woodwinds provide a bed for swelling brass, suggesting dignified mystery - at least until :14, when driving drums and buzzy synths create an aggressive, uptempo, bang-filled Electro remix appropriate for investigations, sports, image pieces, espionage and action sequences. Multiple breaks, rises and ominous bell tolls (@:48 and 1:39) give this cut a slightly cinematic feel. Still too wussy? Fine. Then check out the humungous series of hits starting @1:45. Happy now?
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VH004430
1:14
Lumbering, dissonant squeals of feedback and scraped strings suggest technological/ecological disaster, crime/espionage gone wrong or when your grade school orchestra just gives up. Begins with screeching, otherworldly noise against chugging cellos/double bass, and simple hand percussion and drums. Sounds like someone breaking into someplace they're not supposed to be, probably in a skintight jumpsuit. Sadly, a velour jumpsuit. A horriby unflattering velour jumpsuit. Stop/start section starting @:29 builds tension to a string-only section @:45, building back to the main mix.
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VH004431
1:07
Huge, urgent and attention-grabbing. Put on your cape, generic, uncopyrighted superhero! Starts with a bed of busy, churning strings that, @:09, explodes into huge, dream-within-a-dream, alarm-like blasts of brass/synths/guitars and pounding drums, signaling that evil has arrived and it has a vicious sinus infection. After :30, a smaller bed leads you to believe the danger has passed, but @:36, the blasts return, climbing into an almost positive and proud major-key feel by :51. Big-budget drama appropriate for sports, gladiatorial combat, wars or important events.
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VH004432
1:23
A WTF even for us. Abused orchestral elements, electronic percussion, destroyed choirs, multiple anvils and what sound like distorted tornados all come together in what has been described as "The soundtrack to your distant cousin's performance art piece, the one where he was wearing only rubber gloves and a clown mask." If you never want to have sex again, just loop, oh, :18 to :30, though pretty much the whole piece functions as birth control. Gets exceptionally intense from 1:04 to 1:11. Seriously strange and strangely exciting.
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VH004433
1:13
This hard-edged Reggae-tinged TechnoRock investigative cut starts with a bed of suspicious filtered/delayed strings and dripping metallic time-is-passing synths, broken by jarring and distorted attacks of electric guitar and synth bass. @:09 acoustic drums enter, propelling the cut into a bash-filled, anger-fest. A subdued section after :30 is quietly mysterious as Ska-like Skank guitars, drums and synths build back up to the full, attitude-laden, tough main mix @:54. Great for sports, investigations and strutting.
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VH004434
1:06
Everybody needs a little straight up Gothic choir every now and then. Overly-dramatic faux-Latin singing - check. Bombastic arrangement with strings, brass and drum hits - check. Sense of irony - up to you, Mr. Producer. Gets larger @:46 with extra brass layers, setting up the triumphant montage before Act 3 when the helicopter zooms in for a close up of the hero on a roof. Too close! We can see his implants! Works for sports, action, conflicts, dramas and whenever someone's using stock video backgrounds of explosions.
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VH004435
1:23
And here's where the psychotic clown murdered your family." Tense, mysterious and eerie cut that uses an atonal bell melody over sporadic waves of swelling synths/brass, stretched metal sounds, atmospheric vocals, sparse wooden percussion and chirping electronics. The cut switches from slow, spare, haunted atmospherics to faster, heavier percussive sections throughout. The quiet parts are the worst, though. You just know there's going to be a creepy-looking doll.
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VH004436
1:26
Angsty, attitudinal metal, with episodic triphammer guitar/drum stabs, contrasting against a bed of uptempo delayed chiming guitars, pianos and big string/synth pads that begin to climb in pitch and intensity @:15. This editor-friendly trip down angry teenager lane features multiple breaks, falls and fake-outs good for extreme sports, image pieces and where you'd like to contrast something proud with something insanely, aggressively proud.
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VH004437
1:19
Epic, grand orchestral theme that says something reaaallly big is happening. The ENTIRE UNIVERSE is under siege and you're the only one who can save it! This larger-than-life, driving orchestral theme features pulsing strings and blaring horns playing arpeggiated triplets and can't stay quiet for long. PREPARE. TO. GET. EXPLODED.
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VH004438
1:11
Dark, futuristic conflict in North Africa, following the great "Decorative Rug Embargo of 2090." Explosive acoustic/electronic delayed hits, over detuned, processed brass/non-specific ethnic pads, exploding into pounding stop/start Tribal beats @:12. Suggests international tension, espionage and my cousin Barry's bar-mitzvah. Two words: tainted shrimp. Pulsing break @:45 drops the beat out momentarily to let the tension build.
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VH004439
1:17
Gritty, dramatic Rock with a heart that keeps making bad life decisions. Edgy rhythm section is overlaid with melodic processed guitar harmonics to create human-sized drama. Opens with a backward rise to a series of drum hits + guitar riffs that lead to the main theme. Suggests violence or domestic air travel, which are now kind of the same thing. Takes a break @:49 before finishing big. Good for moderately bad things like domestic dramas, disappointing kids, or center-seat travel.
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VH004440
1:29
Accompaniment for a series of disjointed, mysterious, haunting images. Gothic choir and smaller orchestra (strings, brass, percussion) build in dramatic crescendoes, broken by martial drum hits, dropouts and filtered synth sounds that sound like ghosts taking off in spaceships. (Not cool, spaceship ghosts. These guys practiced really hard for this concert.) Good for eternal mysteries, nightmarish scenes and supernatural suspense.
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VH004441
1:10
Unique, unsettling, murky Rock that's driven by a sample of what sounds like a harmonica, a clarinet and a rusty can of beans from 1930 placed on a turntable. The deliberately muddy mix hints at betrayals, conspiracies and scheming in general. Castanets @:38 add another exotic layer. The Sample is nude @:47, then joined by driving drums and percussion building to the climax @1:05.
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VH004442
1:27
Wide-screen orchestral drama for when your nuclear submarine spaceship bunker plane planet will explode at any second. Tense strings, weighty drums, sustained choir and giant earth-burrowing horn hits add heft to this steadily-paced trailer-ready cue. Percussion break from :33 to :47 leads to ethereal voices for the inevitable family flashback. We snap back to reality just in time for the real action: to SAVE EVERYTHING. Except the cast's careers after being in such a predictable movie.
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VH004443
1:14
Off-Kilter Prog Rock good for crashing, bashing and mashing. Aggressive rock drums are backed up by cicada- and woodpecker-like noises and a butt-simple bass/guitar riff. This is what's playing if you find yourself in uncomfortable territory and have to shoot your way out - like my surprise bachelor party at the petting zoo. @:38, a UFO lands and the drum set drops out for four measures before returning with a vengeance. Also works for falls, fails, hilariously injurious wipeouts or gunfights with lambs.
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VH004444
1:58
Stringzilla attacks! An overly-aggressive, therapy-requiring string section creates a choppy, constantly-moving sea of violins/violas while episodic large hits slowly amass into a driving, pounding acoustic drum/low string assault @:14. Even the "quieter" section after :29 is still threatening and angry, where climbing uptempo staccato strings and over-produced drum kit create tension with breaks and fake-out endings. Good for suggesting shark attacks, intense conflict, chases and delivering drama as a violin/cello suppository.
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VH004445
1:44
Rebuilding after devastation. Guitar-driven Americana that varies between ominous/post-apocalyptic and guarded hopefulness. A steady, pulsing rhythm from multiple muted acoustic+electric guitars, layers of solo male+choir vocals, piano, lead guitar and shifting synth pads building throughout, getting almost hopeful and anthemic @:15. After :35, a weird voice-like lead suggests humanity-meets-technology stories or our Speak And Spell is screwed. Returns to uplifting strings @1:17. Maybe we'll live through the zombies after all.
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VH004446
1:25
More music to sneak around to. Good for spies/espionage, technological suspense or cat burglars. A tense stop/start riff shared by muted guitar, metallic ticking, cellos and a big, mid-tempo acoustic drum beat. Lots of dynamic variation for running, tip-toeing, and standing very still, with the clock ticking all the while. Horn swells ramp up the tension @:21 and 1:05. The second half is a little more soft-spoken with reversed guitars starting @:39 adding a bit of introspective sadness, only to smash back into the drum/string-heavy main theme @1:06.
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VH004447
1:17
Something big, ominous and life-changing is coming to destroy your city, like a tidal wave of lawyers or a Cheesecake Factory factory. Huge brass/string blasts over mid tempo heartbeat-like pulsing synths/strings slowly build over growing percussive accents and staccato strings, getting persistent and driving @:16. @:32 the cut re-starts its climb to awe-inspiring bombast. Neutral in its pomposity, so it can work for sports victories/losses or celebrations/disasters or life-changing events like the end of mankind/winning "Most Punctual" at the office.
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VH004448
1:15
The world's angriest pianist tries coffee. Starts tense and atmospheric with looped guitars, bells, tuned metals and synth pads that, @:14, add heart-attack-like, insistent stabs of low piano/percussion. This cut works for fast-paced chases, fast cutting or escalating technological suspense, especially @:38 where the cut builds from more intimate piano arpeggios to a bang-filled, aggressive beating.
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VH004449
1:34
The slow dismemberment of a still-living piano as if it were being stretched out on a rack. Notes are tortured, stretched and pulled like taffy until they reach the breaking point. Clockwork guitar @:22 combines with toms and timpani for added urgency. Something is about to go very wrong, very soon. Or maybe you just took allergy medicine without getting enough sleep. Good for passing time, tense situations, forensics or any copy in which the word "machinations" is used unironically. Gives you two ending options, @1:06 and another, more straight-up one @1:24.
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VH004450
2:13
There's a war between Heaven and Hell - and you're invited! (BYOB!) Need Omen-esque, Latin-spewing apocalyptic choir for Dec 2012, the predicted "end of the world?" Too bad this cut will likely be heard after that date, much to the annoyance of our boss who called us from his bunker. Pulsing orchestral strings, swelling brass, metallic sound design, war drums and huge gothic choir build to several world-ending climaxes. Not as over-wrought as most trailer music, this cut works for conflicts, slo-mo sports replays and satirizing important events.
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VH004451
1:10
Dyspeptic future drama for when technology goes wrong. A big, evil beat lurches along behind urgent strings and synthetic noises. This is the ringtone for when our phones finally turn against us. (You're using me in the MRI machine? That's IT.) After a big build and drop @:30, a tense, ethereal floaty section features growling horns alternating with spacey synths. @:44, it sounds like you are being sucked into a black hole. Also works for science fiction dystopias, drone strikes gone wrong or Orwellian surveillance.
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VH004452
1:27
Intelligent, dramatic conflict. A melancholy piano rhythm over subtle heartbeat gives way to delayed guitars, string arpeggios and huge brass chords rising from the underworld. When the piano enjoys a quiet break @:30, it almost sounds like the piece has regrets about its life choices. Then it's off to commit more sweet, sweet mayhem.
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VH004453
1:26
You are entering an abattoir for humans. An anarchic blend of chaotic sounds, processed strings and brass are welded onto a lascivious beat that almost seems to have come from an old burlesque show. @:34, it gets quiet and creepy as a harp takes the arpeggios, but @:52 everything gets out of the way for an industrial beat, soon joined by other sounds of bondage and torture as you continue on your journey of horror. Use this for horror, Halloween, or anything scary since it's as unsettling as reading Craigslist personals after midnight.
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VH004454
1:39
Need to wind-up expectations and get your audience pumped? This cut builds up tension two times, using rising tones, chugging muted electric guitars, pounding cinematic percussion and clock-like metallic sound design, with climaxes @:29 and 1:23. Determined and driving, without being too dark, this cut works for announcing big events and suggesting that time is speeding up.
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VH004455
1:20
Giving stereotypical Sunday morning string/woodwind-driven news music a botox injection of Dubstep bass and syncopated electronic beats. Resulting in a cut that contrasts classy intelligence against modern edginess - as well as a cut now unable to move its eyebrows. Takes an all-tech glitch break @:32 with sounds that recall tape rewinding, but strings (@:47) and dubstep beats (in @1:02) are too busy going at it to notice. Get a room, strings and dubstep beats! Good for modern news, suggesting change/growth, technology and reality show drama.
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VH004456
1:43
Emotional, futuristic androids are really, really sad about something. Flowing guitar rhythms play while some robot/human hybrid is wailing about something stupid, like how her whole planet was destroyed or some bullshit. The rhythm backs away from :45 as the lament becomes more intimate until 1:02 when the android does a complete reboot through 1:10. Then the strings return for a big science fiction climax. In the musical about intergalactic travel, this would be the computer autopilot's emotional song about being all alone.
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VH004457
1:21
Drama Rock theme song to paranoia and danger. An ominous rolling drum beat with deliberately murky guitar melody sets a tone of imminent violence with an undertone of surveillance. Section @:31 could easily start the cut, as a big Bonham-esque drum beat provides a macho backbone for this menacing cue. If your production includes the chilling phrases "threat to national security ", "suicide belt" or "dinner at Fuddruckers", you should be using this cue.
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VH004458
1:02
Sometimes a dream goes bad. This quirky, Steampunk Horror/Sci-Fi goes from slightly mysterious + odd to dark, brutal and violent, suggesting dystopian angst and other things that sound like nail polish colors. A lilting, minor-key theme gently falls as clockwork-like orchestral and synth arpeggios start out quietly urgent. Cut then explodes into dangerous/nightmarish Metal power chords and crashing drums @:16 and again @:46. Good for mysteries, crime scenes, investigations and a dim, depressing and anxiety-filled future.
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VH004459
1:13
Urgent orchestral action. Insistent cellos and drums drive the beginning of this important-sounding piece, before everything drops out @:30 for a quiet section of backwards drums and strings. Bell-ish sound @:50 is a perfect "it's time for the judges' decision" moment. You know that it's just the cliffhanger of a cooking show, but damn it, it feels as important as stopping a meteor from hitting the earth. Good for reality shows, news, or news about reality shows - and for some godforsaken reason, these are actually three separate things.
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VH004460
1:15
Pulsing tension explodes into glitchy insanity. Expositionally dramatic for the first :15, then all hell breaks loose as alternating waves of distorted noises, psyched-out drums and glitch madness all accumulate in a nasty rise to :30. During the breakdown, everything is folded down into a sneaky, tense section before coming back louder, glitchy-er and more frantic-er from :46 until the end. Useful for espionage / spy stuff, blowing stuff up or any intense action.
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VH004461
1:32
Dignified, but larger-than-life proud orchestral cut starts small-ish with time churning strings and simple brass melody. Not enough? Fine. @:19 it explodes into a full-on chest-swelling celebratory soaring brass, thundering percussion and an onslaught of doctors, as swollen chests are a sign of Tietze Syndrome, which can be fatal, but less expensive than implants. After :30, the cut builds again from expectant and stately strings/winds/brass with the overblown and elephantine theme returning @1:09. Good for politics, news, royal weddings or giving a sense of grandeur/flatulence.