00:00 00:00
the dark side
LC 12350
:
2000-01-04
:
2022-11-07
2 discs that covers all moods except ennui
Good For: Drama
-
VH801701
1:09
Demon Rock Drama. This demonic atmosphere that will frighten your audience more than Maury Povich naked. Metal guitars, heavy drums and, @:18 and :53, a Latin `choir' makes this perfect for exorcisms, Satanic cults, etc. Reversed glass breaking, screams, evil `laughs' (guitar generated) and, for you Latin majors, some weird backmasked phrases. If Hell has a soundtrack, this is it. 90 bpm (Dmin)
-
VH801702
1:11
Movie of the Week featuring a victim who gets revenge on their attacker? Dark, tense atmosphere with lots of hits and movement - with piano, ethereal voices, orchestral percussion, strings and reversed bells. Speeds up @:31 and :47 with more percussion, bells and a distorted vocal loop. Featuring the second most ridiculous ending on the disc, with hits starting @:55, getting faster until the climax @1:02. 135 bpm (Cmin)
-
VH801703
1:08
More tense than finding pregnancy test kits in your house. Starts with the sound of a jet engine revving, accented by metal percussive instruments (jail doors and crowbars) and machine sounds. The engine reaches full speed @:29, then explodes into an atmospheric, machine-like rhythm - which builds towards a boiling point @:44, with voices, jet engines and synth pads declaring the earth's imminent destruction. Good for investigations and mysteries. 136 bpm (Cmin)
-
VH801704
1:09
Straight-ahead, teletype-esque news music. Staccato strings, brass, synth sweeps, processed drum loops, delayed military snares and marimbas make any story urgent - except those weird sweeps-time `Toilet of Death?' pieces. Drum breaks (like @:19 and :46) provide a place to breathe or opportunity for a fast montage. Good for Wall Street reports. 125 bpm (Cmin)
-
VH801705
1:08
Grand, pounding, fast-tempo chase music. War-like and tense, orchestral percussion, full orchestra, and various synths, create a disorienting, convulsive succession of hits. The pace quickens @:14. @:30 the eye of the storm passes with a proud interlude, exploding back into a mad rush @:36 building back to the theme @:56. Good for military and action movies. 152 bpm (Amin)
-
VH801706
1:13
Sharp, dangerous, and guaranteed to drive audiophiles to suicide. We employed distorted guitars, distorted drums, distorted self-image, metal grinding, digital glitches and severely EQ'd machine noises to create a dark, frightening cut that's more disturbing than the outing of Tinky-Winky. An ascending guitar wail starts the piece, climaxing @:09, when the drums enter (getting bigger and machine-like @:20). A simple reverbed electric guitar theme repeats throughout. Atmospheric and spookier @:32, returning to the theme @:55. Good for sports and murders. 90 bpm (Emin)
-
VH801707
1:26
Mysterious, ethereal piece uses harp, disembodied voices, bell trees, strings and various percussion to create a ghostly, Halloween-ish atmosphere that's both pretty and creepy. Good for mysteries, stalker theme songs, and dreaming about someone trying to stab you to death with a 'spork.' Pulsing orchestral percussion enters @:20, creating tension until the first climax @:29. 100 bpm (Dmin)
-
VH801708
1:13
Disorienting and frenetic. Django Reinhardt - an eight-fingered guitarist - was also famous for exploding randomly, jumpy bongo playing, rewind noises, distorted electric guitar lines, ending his pieces with cacophonous orchestral hits (@:29) and throwing cocktail parties in the middle of pieces (@:30). Good for entertainment, extreme sports, extreme accounting or letting people know what `hectic' sounds like. 86 bpm (F#min)
-
VH801709
1:25
Over-the-top meltdown in three parts. The first :30 is sad and slightly threatening, with delayed explosions, slow percussion and plodding piano as Bill finds his car completely covered with Oreos. From :34 to :44 - Bill cries as he remembers that his first wife died in an Oreo-related death, as tinkly, light bells create a somber, childlike atmosphere. @ :44 hell breaks loose as an orchestra, bells, heavy drums and explosions crash in as Bill kills several unsuspecting people with a lobster fork. Great for heavy dramas and movies whose body count surpasses that of World War I. 139 bpm (Cmin)
-
VH801710
1:07
Have a story with spiritual and/or mystical overtones to it? Wild, multi-cultural mix of Malaysian, Pakistani, and our lawyer's voice set to a forceful percussive beat with saz and an oud. First :30 is one gradual, pulsing build, while the second :30 starts with what has been described as "kind of like Amazing Grace, sung in Malaysian, blasted on an AM radio". Useful for alternative therapy stories or if "Felicity" takes some really bad acid in Kuala Lumpur. 116 bpm (Bmin)
-
VH801711
1:20
"The threatening phone calls are coming from inside your house! Get out!" Frantic, low-frequency heart-beat-like thumping, trombone swells, looped guitar distortion and drums create an atonal, tense atmosphere for the 600 yard dash-and-scream, competitive stabbing and the 30-story fall. Building tension to :29, the cut then settles into a foreboding atmosphere that @:54 becomes a pounding, drum-ridden run through the woods chased by a now-rabid Smokey the Bear. 90 bpm (F#min)
-
VH801712
1:11
Tense staccato strings, distorted drum loops, bottom-heavy brass, clock-like ticking and the sense that someone's going to die. Tense and percussive throughout, with an oboe lead entering @:39, giving the cut a slightly sadder edge. Good for investigations, murders, and suspenseful confrontations. 90 bpm (Cmin)
-
VH801713
1:13
Grunge nightmare music. Like Stallone making another comedy.. Psychedelic, Mellotron-esque strings, 80s metal hair-band guitars, old untuned pianos, crappy drums - played on an warped 78, give this cut a lumbering, evil, off-balance feel. The strings start climbing wildly and become more shrill @:54, intensifying and ending with a cacophonous piano hit @1:05. 80 bpm (Emin)
-
VH801714
1:13
Murder. Extortion. Leaving the seat up. Urgent, rhythmic, pulsing cut featuring synth percussion, electric guitar swells, orchestral strings, and assorted wooden percussion. Works for movies of the week, investigations and sports like white-water snorkeling or avalanche riding. 140 bpm (Fmin)
-
VH801715
1:08
Military snares, cymbals, brass and a winding string line interweave a tale of building tension and intrigue. Communicates a sense of impending conflict or when we finally decide to burn down those pesky rainforests once and for all. @:17, string swells start building the cut to a climax @:29. By :30, the battle has begun, with more staccato `explosions' until :42, when an ascending string line tells you the fight's coming to an end. 85 bpm (Bbmin)
-
VH801716
1:10
Frenetic activity punctuated by orchestral hits. Works for chases, action/spy films and Menendez family movies. Blaring horns, crazed low-end piano, tympani, found percussion, bells, xylophone, and some odd surprises (including didgeridoo) create a melody-free but slam-filled track. Pauses throughout are followed by violent eruptions. 150 bpm (Ebmin)
-
VH801717
1:14
Caustic, high-frequency horror-fest. Good for atmospheric pieces on the occult or obscenity-spewing Furbys on killing rampages. A wall of processed guitar noise, accentuated by drum hits slowly coalesces into a pounding rhythm @:16 building in tenor until the hit @:29. The second half is similar, with the build-up starting @:50, and climaxing @1:06.. 120 bpm (Dmin)
-
VH801718
1:06
Half military and half news. Both :30 sections start quiet, then gain momentum, meeting explosive ends @:29 and @:59. Tension mounts as strings, brass, woodwinds, bells, tons of orchestral drums and an agitated triangle player show you the military buildup in Afghanistan and the grand opening of a `Home Depot' in Lebanon. This cut wins the award for `most successive hits in a row' @:53. Good for world events or investigations. 68 bpm (Emin)
-
VH801719
1:20
Poignant, enigmatic and childlike. The sobering aftermath of a war, air crash or using the 'Keith Moon Maid Service.' A mid-tempo sad, melancholy bed featuring harp, bells, and metal percussion that feels like dreamlike movement or time passing. @:37, a string melody begins, accompanied by a light distorted drum loop. Good for deaths, mysteries or lost children.
-
VH801720
1:10
Spy caught in the Pentagon? Colonel Mustard murdered in the Conservatory? This beautiful, stately, but still spy-ish cut sounds dignified (using a cello and violin played in unspeakable ways) but has an edgy, made-for-TV-drama air about it (by using military/clock-like snare drums, hi-hats, heavy toms and subtle drum loops). After :30, the cut takes a turn for the weird, violin screeches linger behind a steady drum pulse, with a drum ramp up bringing the theme crashing back @:57. 128 bpm (Emin)
-
VH801721
1:13
Mechanical, driving action/adventure cut that uses a heart monitor as percussion. Extra drums and percussion really kick in @:15, inviting images of extreme sports or quick cuts of "When Accountants Attack (Part 2)". @:30, you hear a heart attack - where we begin with a normal heart rate, the arrest (@:34) and a flatline @:36, which leads the ER to go into rhythmic chaos as doctors begin grabbing equipment while others dance, thinking they're in an episode of `Cop Rock.' Good for chases, investigations, sports and all-you-can-eat bacon bars. 129 bpm (Bmin)
-
VH801722
1:18
Haunting, sad and a little eerie. Proud, swelling chords above Native American flutes, tribal drums, synth pads, processed voices suggest beauty, grandeur and conflict on the horizon. Ethereal and dream-like, this cut works for grainy b/w shots of Buffalo - the once-endangered animal and now-endangered city in NY. Gets slightly hopeful @:17 and the percussion intensifies until climaxing @:29. An odd, half-backwards wooden flute melody starts @:42. 90 bpm (Emin)
-
VH801723
1:22
Good for action sequences and news image spots - especially if your news copter has surface-to-air missiles ("Take THAT, Doppler 4000!"). Starting very slow, pad-like and atmospheric with a subtle undercurrent of synths and processed percussion, @:20 horns and strings and more frantic percussion enter as the tempo increases. @:32 the mood gets more urgent as more drums, low piano and explosive hits are added. The cut pauses briefly @:46, but hammers back in @:55. 105 bpm (Cmin)
-
VH801724
1:06
Nothing says escalating tension like crescendoing strings, reversed guitar feedback, requests for blood for DNA testing, metal percussion, piano, woodwinds, horns and reverbed synth pads - growing in timbre until climaxes @:14, :29 and :45. @:29, the piece pauses briefly for a weird atmospheric `breather' with ticking percussion that returns to tension-land @:45. Good for dark investigations, stalkers, random killings and blind dates that look like `Pikachu.'; 130 bpm; (Emin)
-
VH801725
1:08
Action-crammed percussive cut. From the failed Peanuts special "Pigpen's Infected Wound," this 5/4 cut (voted "The Most Urgent Meter In Music") feels sneakily active with piano, horns, drums, metal hits and the subtle fragrance of Peter Graves. After :30, the mix gets less dense, but stays frenetic with percussive hits and horn stabs. Pauses briefly @:43, then @:45 starts climbing towards an explosive climax. Good for spy stories, medical dramas or a more-active-than-usual hard news bed. 160 bpm (Gmin)
-
VH801726
1:07
Plodding, spacey cut that uses heavily echoed wooden percussion, hand drums, piano, distant-sounding guitar swells, acoustic bass and metallic hits. Sad - but with hints of threatening and a dab of weird. Half world percussion piece, half swamp-folk-ish atmosphere. The first :30 is a collection of widely-spaced hits, which coalesces into a cohesive piece @:51, when the percussion forms a more driving, uniform pattern. Good for mysteries, deaths and disturbing Nature Channel ultra-close-ups of a grasshopper's cervix. 151 bpm (Cmin)
-
VH801727
1:15
Want neutral motion? Superfast drums-only piece steadily grows throughout the first :30. Starts with action packed delayed hi-hats, adding kick and snare (in @:19) as the piece builds. Great for fast breaking news, action or simply giving lots of life to an otherwise static spot. Second :30 is even crazier, taking a breather @:43, and building up to a frenzied climax @1:00. Drums come back in for a surprise ending or a separate sting @1:01. 85 bpm (Dmin)
-
VH801728
1:14
Frenetic, action-movie chase music. Stabbing horns, chaotic strings, rapid-fire drums and non-western percussion all add up to more thrills a minute than a room full of rabid, hungry wolverines, if wolverines exploded a lot and had access to millitary-grade weaponry. Starts big and gets bigger with the second half introducing metal feedback creaks and more grotesquely huge hits. Great for movie trailers, drama shows and imagining yourself outrunning at least six explosions in a row. 93 bpm (Cmin)
-
VH801729
1:10
Odd-metered, sinister cut featuring the percussive effects of knives - sharpening, stabbing, being left on the counter covered with peanut butter - along with thudding bass piano, delayed vocal `gasps,' electric guitar noises and deep, tom-like drums. Periodic hits start at the beginning and get more frequent @:21. After :30, the cut calms, then builds into an atonal hit-fest @:52. 160 bpm (Cmin)
-
VH801730
1:08
Big, nasty and lumbering. You are in Japan 2040, being chased by Godzilla and, due to a casting error, the sculptor Rodin. Elephantine horns, scraping metal and piercing drums drive this monstrosity. Freaky horror movie hit @:14 announces the arrival of the beast, followed by more rhythm kicking in @:19. Breathing and twisted voices definitely frighten @ :30. Stays beddy until :51 when the hits start coming back in as the gaping green lizard dies, crushing the touring company of `The Teletubby Christmas.'; 138 bpm; (Dmin)
-
VH801731
1:10
Sharp-edged, sterile, slightly threatening cut. @:11, the pace quickens as a computer virus starts replacing your text files with pictures of naked unicorns. It's a race against time to :29, where the mood gets darker and more ominous. @:34 an atonal piano chord and spare background signal that the virus has won, and every document now starts with "OOOOhhh Ooooh whoowhowoo" @:47, the theme returns and the pace quickens when another virus threatens to erase your collection of internet porn. Good investigative/tension-inducing music that uses tremoloed guitars, synth pads, piano, congas, synth percussion and bells. 112 bpm (C#min)
-
VH801732
1:09
Nothing on TV sounds like this. Noisy, short-attention spanned cut whose instruments vary from the sound of a power drill (:04) all the way to a Tibetan Mountain horn (@:29). And the moods change just as frequently - having periods of action-adventure (the first :30), then mystery (@:31) - then disturbing electric-like sounds (which isn't really a mood, we know) @:54. Good for mood-changing spots, arresting action promos, or indecisive producers. 124 bpm (Cmin)
-
VH801733
1:23
Simple and newsy. This cut utilizes an Indonesian Balaphone, Jamaican shakers and a tambourine. Movement and things happening all over the stereo field envisions nature-show turtles mating or cells dividing. The piece gets slightly tense @:20, climaxing @:29. @:57, starts building toward the end @1:16, adding more instruments. 110 bpm (Dmin)
-
VH801734
1:26
Mysterious, somewhat neutral-feeling combination of delayed piano, slightly distorted drum loops, percussion, synth bass and vocal hit samples that suggest "somebody's kidnapped my child" or "Timmy's drooling is a sign of novocaine addiction."; 85 bpm; (Amin)
-
VH801735
1:11
Gritty, clock-like and slightly weird. Tense toms (now taking Prozac), hi-hats (now in rehab), sweeping synth pads (now seeking better jobs) and reversed electric guitar create a tense, disorienting bed that works for investigations, cop stories and finding out that you're being chased by evil rabbits. After :30, a sparser, more percussion-heavy bed enters, returning to the cut's thematic reversed guitars @:47. 90 bpm (Amin)
-
VH801736
1:16
Mysterious, weird, sad and a downer at parties. Like my Uncle Abe, except that he didn't sound like a well-produced, Middle-Eastern funeral dirge replete with Middle-Eastern percussion, tamburas, saz, finger cymbals and an harmonica-sounding like instrument called a mizmar. Plus, Uncle Abe always smelled like pot roast. Plaintive and sad throughout, shakers pick things up slightly @:16 and :50 - but never gets too rambunctious. Good for missing children and supernatural stories. 92 bpm (Dmin)
-
VH801737
1:08
Instant evil/danger. Sparse, atmospheric drums, synth bass, reverbed piano and processed metal creaks, hits and grinding make this good for stalker pieces, murder investigations, or sadistic orthodontists. Pulsing, not-quite-natural percussion slowly gets more elaborate towards :29, letting the spot get very atmospheric and spare @:30, with drums entering @:40. 100 bpm (Cmin)
-
VH801738
1:11
Achingly beautiful boys' choir piece. Very simple and moving. A short piano figure augmented by bells enters @:17. Builds dramatically from :31 to :40 when a string section joins the boys, making the piece very lush. But not Kitty Dukakis lush. Would make a great contrast to very dark, action filled footage - but would also work played straight. 84 bpm (Bmin)
-
VH801739
1:14
Have a love story? Cinematic, proud, romantic cut that uses orchestra, delayed piano and bells. Pretty and delicate at the top, it crescendoes into a proud feel @:17 - and then gets quiet again @:31. The emotional climax starts @:49 with string arpeggios, full brass and woodwinds that make the hairs on your arms stand up - or the hairs on your back if you're my dad. Good for reunited families and touching moments. 122 bpm (Amaj)
-
VH801740
1:05
This slow, low-key country-ish cut feels sad - and yet hopeful. Good for long, slow-mo black & white shots of sad-eyed people - like almost every PSA we've seen for the past ten years. Starts with cello and acoustic guitar, with simple percussion (shakers, wood blocks, broken glass) - then slide guitar enters @:13. A slide-guitar heavy mix starts @:31, feeling a little more full and hopeful. 77 bpm (Gmaj)
-
VH801741
1:14
Bring tissues. A slow-to-mid tempo tear-fest that's heart-warming and not easy to slam-dance to. This cut uses cello, found percussion, delayed piano and acoustic guitars not-so-subtly hinting that a loved one is dying or that somewhere, someone is planning another talk show for Magic Johnson. Accented by cymbal sweeps, the melody cuts out @:31 for a sad bed and comes back @:57. Warning: do not play for depressed people. This might kill them. 101 bpm (Bmaj)
-
VH801742
1:29
Bells toll, strings weep and somewhere a fat lady is singing. This sad orchestral cut works for tragedies ranging from family deaths to realizing there's only skim milk and no sugar. @:18 the full orchestra enters, suggesting that not only is there no sugar - but it's decaf as well. A glimmer of hope appears @:29 as the tempo increases and synth percussion enters. But - @:51 hope turns to despair as the orchestral theme returns, letting you know that the decaf - was instant, building to a climax @1:12. Good for deaths, love affairs gone sour and sad news. 90 bpm (Ebmin)
-
VH801743
1:13
For when pets visit The Big Habitrail. Sad/melancholy cut with piano, electric guitar, percussion and step-programmed drums that feels dark and lonely, like the absence of someone you love - or the presence of someone you don't. @:42 some atmospheric slide guitar brings in glimmers of some happier times. Works for teenage dramas, lost loves - or when Stuart Little gets caught in a glue trap. Dedicated to Goggles (1979-1981); 80 bpm; (Ebmin)
-
VH801744
1:09
Nothing says `adolescent angst' better than dark mid-tempo rock replete with subtle ambient wind noise. That and getting a tattoo. Acoustic guitar, cello, drums, and subtle string orchestral accompaniment. @:30, the piece musters a more positive, optimistic outlook, but returns to its sad theme @:50. Works with failed relationships, prom-date disasters or anything that needs that isolated feeling. 100 bpm (Emin)
-
VH801745
1:23
Beautiful with tinges of evil and sadness. Piano, bells, orchestra, microtonal sandwiches and tympani tell the story of a cute kitten who is the embodiment of evil itself and must die - or at least get fixed. This slow tempo cut evokes feelings of isolation and as the cut progresses, more evil starts oozing out. For example, @:57 a distorted guitar wash leads into the main theme, which slowly becomes less focused and out of tune as it slides into a climax of pitch-imperfect uncomfortable Hell. Good for evil children, relationships that end painfully, soap opera-esque tragedy and remembering my kitten, The Great Catsby. 90 bpm (Gmin)
-
VH801746
1:21
The sonic equivalent of a cloudy Sunday. Mellower, spare, softer way of communicating longing or saying 'my family was grated to death.' Sad piano, drums, bass, arpeggiating synths, cluster-esque pads and slow tempo drum loops let your audience know the cancer has spread to the bones, glands and surrounding furniture. Halting stop-start bridge section @:33 provides isolated hits, which build back to the melody @:45. Good for deaths, missing children and veeeery slow sports. 80 bpm (Amin)
-
VH801747
1:16
Sad memories set to beautiful music. Spent your childhood dressed in a sailor suit? Parents kidnapped by a cult? Your last name Barrymore? This folk/orchestral hybrid uses washy piano, cuatro (10-stringed Puerto Rican guitar), metal percussion and an orchestra that has unresolved childhood issues. @:35, the cut introduces minor-key tension that resolves @:52 with a restrained - but hopeful - return to the theme. Good for human interest and soap operas. 110 bpm (Emin)
-
VH801748
1:19
Processed strings and tinkly hammered dulcimer create a delicate environment - like a romantic walk on the beach. Until :19, where someone steps on contaminated medical waste, gets some strange disease that sounds like a Polynesian chicken dish and dies a painful death - all by :29. @:30, the grieving starts as instruments enter until :46, when the weeping really gets embarrassing. @:56 tympani give the piece a more driving feel, ending the piece on kind of a bittersweet note @1:09. Good for pieces on anything cute that turns and kills its owners, or footage of famous dead people when they were children. 106 bpm (Amaj)
-
VH801749
1:10
Sad, lonely call of the ashen plains of the Midwest. You can almost see the tumbleweeds and smell the horse poop as the slow-tempoed twangy tremolo guitar, slide electric swells, piano, brushed drums and percussion create a mood right out of the deserted southwest - or any city named after Armadillos, dead Allman Brothers or with `Gulch' in the name. Gets spare @:30 as a sole guitar plays a lead, building back to a fuller mix @:42. 80 bpm (Amin)
-
VH801750
1:13
Good for slow-motion soft-core porn (we've all stayed in hotels, people), watching nature specials like `World of the Slug' or covering your clothed on-air talent in molasses and watching them try to undress themselves. Delayed, heavily-drugged piano, acoustic bass and a contrarily-moving fast undercurrent of percussive activity work for imparting a sense of mystery, loss, natural beauty or lack of descriptive phrases for a cut on your disc. A sax enters @:38, giving the cut a lonelier, more Cinemax-at-night kind of feel. 120 bpm (Bmin)
-
VH801751
1:09
Melodic, hybrid orchestral piece with strings, electronic pulses and drums.). Captures the melancholic longing for a non-existent past, or the desperate yearning for a rat knuckle/eye-free hot dog. Emotionally complex, but ends up heartwarming. @:14 a flowing pulse floats on top of the strings, gradually building to :29. Another great place to start the cut is @:40, where the main theme re-enters quietly and slowly swells to the climax. 100 bpm (Cmaj)
-
VH801752
1:09
Want to feel lonely? Depressed? Slow-tempoed, atmospheric harp, woodwinds, soft brass, tympani, and subtle mechanical sounds create a truly depressing bed for shots of destroyed landscape or rainy funerals. Gets military sounding @:23 as snares start driving the rhythm. @:31, the tempo increases as the sad feeling gives way to resignation to start again. Simple cut that is appropriate for when a muted, gentle touch is needed for deaths, or sad memories. 119 bpm (Dmin)
-
VH801753
1:14
"Something awful happened that night." Ghostly women's voices, organ, electric piano, delayed bells, synth pads and synth percussion tell the story of painful sadness, supernatural horrors or another poetry book by Jewel. Slow, simple ascending melody surrounded by growing voices and synths, with a steady drum beat entering @:15 (and :42). 80 bpm (Amin)
-
VH801754
1:21
The first self-pitying promo cut! With last-to-be-picked-for-soccer delayed acoustic guitars, homesick bass, can't-quite-fit-in electric guitar swells and swims-like-a-stone drums. This cut starts spare and depressing until :28 when the tremoloed feedback guitar pads and synths let it straddle the line between despair and timid hopefulness. 128 bpm (Fmaj)
-
VH801755
1:06
Lyrical fretless bass and jazzy piano harmonies evoke a sense of longing, nostalgia or sadness when remembering early potty training attempts. A poignant variation on cool jazz, literally, with the sound of clinking ice augmenting the snare-less snare sound. Builds throughout first :30, then settles into a darker, more dramatic bed @:31. Moves back to the main theme @:49, as the memories flood back. 120 bpm (Emin)
-
VH801756
1:18
Somber, military-sounding horns and snares make this piece suitable for sad recollections of those who died for their countries.. @:19 an orchestral swell signals a rush of memories - countered by the icy quiet of synth pads and drums which start @:30 (@:43 - if anybody says `Space, the final frontier..' we'll smack you), building to the climactic repeat of the theme @1:02. 73 bpm (Cmin)
-
VH801757
1:11
Ultra-slow-tempoed cut features bass, mellow strummed tremolo electric guitar and a near-comatose drummer. Close your eyes and see the lonesome dust bowls of the American West - or wonder why it's so dark. The beginning is more of a bed - while a delayed twangy electric guitar lead comes in @:37. Very measured and funereal - good for heavy sadness, isolation or driving viewers to suicide. 130 bpm (Emin)