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dystopik
LC 12350
:
2021-11-17
:
2022-11-07
Dark, disturbing, dystopian drama. What we hope the future doesn't sound like. Good for sci-fi, drama, technology, horror, crime, murder and promos.
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VH009901
2:39
SciFi discord, time-is-passing discomfort and suspense. Cold, dispassionate synthetic weirdness suggests technological tension, internet stalkers or your internet browser history opened during an important work presentation. Starting with discrete mysterious-sounding and dissonant synth chords, the cut grows linearly larger with pulsing low synths, squeaking synthetic sound design, filter-swept brassy pads and drum hits that all escalate towards a climax @:29, resolving into a low, foreboding drone with pulsing synths and metallic sound design that builds back up to a series of curious synthetic hits @1:28. The mix gets bigger and busier, adding more drum hits and angry, rising drones, then climaxing @2:20, with the longest-held last note in VideoHelper's history. Good for technological fear, hacking, disturbing information and investigations into why Siri insists on autocorrecting "epi pen" to "epic penis" every single time, which has resulted in my allergist blocking my texts, god donut.
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VH009902
1:54
True terror/fear in all of its panting, ticking and ugly glory. This atonal, artificial-sounding, screeching, disturbing cut is a rhythmic, sound design collage of being chased through a building, having just jumped up from the table mid-procedure after suddenly realizing that scrotal waxing wasn't for you. Built around a frantic rhythm of male breathing, becoming faster against a throbbing bed of low synths, clock-like percolating and drum hits and then @:15 the demonic, distorted sounds of a didgeridoo introduce a darker, more chaotic kind of panic. The cut provides a variety of loopable, tension-inducing beds starting @:31, returning to a bed of isolated, panicked breaths @:48 that starts blowing up with huge, disruptive hits that increase in frequency and tenor. @1:21 it's just a series of horrifying explosions that get faster and more intense until the climax. Good for violent sports, brutal montages or being pursued by someone with a cattle prod.
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VH009903
3:35
Dark carousel/festival of discomfort, the musical equivalent of being covered in spiders and then tongue-kissed by a manatee, unless you're a spider/manatee fetishist. This sound design-oriented track features plinky, grotesquely out-of-tune metallic piano and autoharp strings that are twisted, stretched, hit and then sent to live with their sadistic, evil stepparents as creepy and dissonant twangs create an uncomfortable clock-like time-is-passing feel, providing various beds and builds. @:55 a bouncy calliope completes the nightmarish playground-of-evil vibe that starts grinding to a halt @1:19. Filled with tons of abrupt and disquieting breaks like musical Kegel exercises, this cut climaxes with a build featuring twisted strings and winds starting @3:11. This track works for possessed children, clowns, dystopian visions, investigations and having lunch with my friend Jack, who chews with his mouth open.
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VH009904
1:19
Sticking things into a spinning fan blade resulted in this stress-inducing track featuring ticking, tocking, clicking, tapping or whatever you call clock-like sounds, as well as a whopping workman's compensation case (two words, Will: Django Reinhardt). Insistent, driving and mildly irritating (when listened to on repeat for hours on end) movement that's accented by whooshing/sliding sound design, drum slams, hammered dulcimer (it seemed sober, but was a little handsy) and tonally-rising pads that still can't prepare you for the climactic and shocking end @:28. But wait! The cut starts all over again, rising to a longer, even more irritating ticking/plinking bed laden with rising pads and explosive, surprising hits that rise in tenor and frequency until the actual end. Good for suggesting that time is running out, building a ridiculous amount of tension/suspense and woodpeckers. Trust me.
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VH009905
1:54
Stressful bass-driven futuristic discomfort. Your worst dystopian nightmares are realized as growling/transmuted electric bass, distant public announcements/vocals and clock-like clicks suggest fear and oppressive regimes. Your second worst dystopian nightmares are also realized as your government just gave gun rights to seals, who seem pretty pissed about all the clubbing. Processed drum machines, metallic ratcheting sounds, what sounds like an electric bass being tortured/stretched on the rack and @:21 a tribal-sounding processed vocal chant suggest being overrun by tiny, angry villagers. After a grinding bass conniption @:28, the cut adds atmospheric airport-esque PA-driven voices, a suspenseful pulsing bass, growing pads and machine-like ticking. @1:12 a bed of ostinato cello provides a brief moment of sanity, just before a cacophonous build climbs to a danger-filled and drum-driven ending. Good for investigations, technology gone wrong, murder scenes and dark visions of a future doing tricks for our seal overlords.
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VH009906
2:07
Starts eerie, gets fear-y. Hey, if you can write snappier descriptions, bring it on, Shakespeare. Scary, foreboding Horror in two sections. Starts with atmospheric, stalker-vibe bowed metals/glass, that slowly get more oppressive and frightening with blown low brass and buzzy synths @:17, building to a cacophonous climax @:27. The second section starts @:51 with a slow, Hip Hop-esque beat providing a stop/start suggestion of impending evil, like having a sonic root canal by Dr. Shaky that gets increasingly intense and threatening, with clock-like ticking, skidding sound design, vocal-ish resonances and a stool-loosening synthetic bass that becomes progressively larger and more distorted. Good for mysteries, murders, investigations, satanic possessions and a visit to Dr. Shaky's Discount Vasectomy Clinic.
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VH009907
1:44
Behind every great man ... is probably some angry ex-partner with a knife. Dangerous technology or mysterious, lurking stalker music built around a mid-tempo, chopped up electric guitar lead that's processed and delayed, creating a stuttering, almost atonal, nervous-sounding computer-esque melodic hook. Percolating sound design throughout makes the cut even more distressing, but low brass-like synths @:12 and four-on-the-floor drums @:23 amplify the intensity and dread, like finding a pimple on your nose on the morning of your prom. A more ominous and subtle mix starting @:59 provides smaller mix-outs, returning to the dark, melodrama-filled main theme @1:59. Good for off-kilter confrontations, internet disasters, being hunted by your IT person or any sense of uncertainty and discomfort.
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VH009908
1:30
Who pooped in the airlock? Questioning dark intrigue with a SciFi, technological/mystical feel that starts small and suspenseful and gets more majestic and bigger, much like my Aunt Dora who accidentally took bovine growth hormone (BGH) instead of expectorant (BGT) and now generates enough methane for halogenation, emitting dangerous fluorocarbons and halohydrins. A simple three-note, reverbed piano hook repeats periodically throughout, suggesting isolation and loneliness against a stuttering synthetic and cloud-like background that grows linearly in tenor and size, adding drum/synth hits and churning analog synth arpeggios until it becomes overwhelming and threatening, climaxing @:28 and @1:20. The spare feeling of abandonment returns in the middle, then explodes back into the full, swelling importance @:49, adding a haunting vocal, more synth/orchestral pads and drum hits that suggest an impending crisis or life-changing event.
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VH009909
2:26
A slow burn of tension, discord and dystopian failure with a touch of soon-to-be tarnished hope, which, come to think of it, is a really crappy thing for my wife to have inscribed on our wedding rings. Haunting, methodical and ominous, this futuristic/modern classical cut is the embodiment of pesky second thoughts, dark images and ruined ideas portrayed by shifting, cloud-like pads of organ/synths that slowly become more methodical and mathematical with mid-tempo percolating electric guitar plucks, mechanical-sounding electric bass and slow, anguished violin wails. The mood becomes more strident and suspenseful @1:01 with staccato orchestral strings and lamenting male group vocals suggesting future misery, like a date who says "supposably." The cut builds in tenor and strength until by the end we're being inexorably dragged into a whirlpool of shame and evil. Good for murders, religious crimes and watching your dreams die.