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3300 titres trouvés

KAPTAIN A TROUVE

3300 titres


61 - ELUCIDATE | 2'11

  • A synth bass pulse sets a tense pace while strings bring a serious determination to the fore; powerful drum accents layer in as the orchestra builds to a brassy back end build.

Compositeur(s) :

  • Stuart Roslyn

62 - CORPORAL PUNISHMENT | 2'23

  • Minimal cello slides lead to very tense, driving Hitchcock-ian strings, building with string tremolos, staccato accents and stick percussion snaps to a sophisticated yet dark climax.

Compositeur(s) :

  • Michael Rubino

63 - DUMA STATE | 3'11

  • A dark pad layers under a piano motif, setting a contemplative intro; strings layer in as the drama unfolds, swelling up with lush full orchestra and a bold brass theme to a huge climax.

Compositeur(s) :

  • Samuel Karl Bohn

64 - A DEEPER LOOK | 2'07

  • Mysterious piano and low bass accents set a dark tone while synth pulses swell beneath; racing strings layer in with percussion and brass, driving towards a emotional orchestral back end.

Compositeur(s) :

  • Michael Rubino

65 - A COMPANY OF MEN | 2'09

  • A minimal piano intro with tense string swells and high pings sweeps with a lush orchestra and driving synth ostinatos, building with percussion to an emotional and sophisticated climax.

Compositeur(s) :

  • Daniel Lozinski

66 - CLOSE STRANGERS | 2'43

  • Mysterious synth pads and a deep bass blast layer under tense string plucks; driving violins and a lighter piano ostinato; evolving with snares and brass, swelling up to a huge back end.

Compositeur(s) :

  • Matt Foundling - Stuart Roslyn

67 - ARCANUM | 2'46

  • Minimal pings set a mysterious tone as guitars and an anticipatory pulse layer with strings, swelling with a lush orchestra; brass blasts with drums, sliding tones and a dramatic choir.

Compositeur(s) :

  • Harry Lightfoot

ARCANUM (no choir) | 2'46

  • Minimal pings set a mysterious tone as guitars and an anticipatory pulse layer with strings, swelling with a lush orchestra; brass blasts with drums and sliding tones.

Compositeur(s) :

  • Harry Lightfoot

68 - UMBRA | 1'54

  • Dangerous synth bass blasts and percussion beat out a marching rhythm, while serious strings layer in. The anticipation comes to an epic climax in this orchestral, stabbing back end.

Compositeur(s) :

  • Danail Getz

69 - NAMELESS IS MY PRICE | 2'36

  • Dark pads swirl under high pings and guttural growls; racing strings set an anticipatory pace, slamming in with huge hits and choir blasts. Bold brass and hybrid.

Compositeur(s) :

  • Cody Douglas Still

70 - POGROM | 1'29

  • Tense atmospheres rise with heavy percussion hits leading to an ominous pinging piano motif, crunching with a massive power down to a rhythmic and deadly percussive back end.

Compositeur(s) :

  • Kyle Booth

71 - INCENDIARY | 2'31

  • Darkly minimal intro of squealing synth blasts and tense FX; drives forward with big drum clusters and massive drops and pings; textures drive the back end to a pounding stabbing rhythm.

Compositeur(s) :

  • Darius Moldovan

72 - ATHRIL'S RING | 2'40

  • Slamming drums hit while an ominous organ; synth textures and alarms squall over percussion. Time ticks, alarms blare, then the hybrid orchestra and choir leads a dramatic back end.

Compositeur(s) :

  • Goran Dragas

73 - INHERITRIX | 2'13

  • A tense synth pulse dances with string ostinatos, drums and pulsing low end, creating tension before a sci-fi friendly middle pounds to the end with drum clusters, brass, and hybrid.

Compositeur(s) :

  • Matt Foundling - Stuart Roslyn

74 - HYDROGEN SEA | 1'40

  • Light, pulsing synths swell rhythmically beneath light, wondrous piano pings and futuristic arpeggios, building gradually to a magnificent, inspirational climax.

Compositeur(s) :

  • Stuart Roslyn

75 - BIG BUSINESS | 2'42

  • Stomping swagger, bluesy guitar, driving bass line, and singalong style - making we're all clapping hands and expecting some fun and excitement.

Compositeur(s) :

  • Harry Lightfoot

BIG BUSINESS (no vocals) | 2'42

  • Stomping swagger, bluesy guitar and driving bass line - making we're all clapping hands and expecting some fun and excitement.

Compositeur(s) :

  • Harry Lightfoot

76 - POWERHOUSE | 2'45

  • A cool scratched rhythm kicks off this intro, bringing in a clever bass groove, building with piano, big drums and a swagger-heavy guitar line, driving towards a fun rockin' climax.

Compositeur(s) :

  • Harry Lightfoot

77 - GET THE GUY | 2'14

  • High noon came and went and now it's time to take that slow walking to the streets. A badass guitar rhythm sets the stage for mayhem with handclaps, heys, a gritty bass and big drums.

Compositeur(s) :

  • Jordan Kareem Rees

GET THE GUY (no vocals) | 2'18

  • High noon came and went and now it's time to take that slow walking to the streets. A badass guitar rhythm sets the stage for mayhem with handclaps, a gritty bass and big drums.

Compositeur(s) :

  • Jordan Kareem Rees

78 - HELLAS BASIN | 2'15

  • Dark pulses mix with brass blasts and a driving bass, setting a suspenseful pace; sliding brass layers in with a sense of deadly heroism as percussion stomps in, adding urgency and tension.

Compositeur(s) :

  • Stuart Roslyn

79 - DUPLICITOUS | 1'12

  • A ticking piano and time-sensitive, plucked string motif sets the stage for a driving, urgent and emotional violin solo as the neoclassical period drama swells to a tense climax.

Compositeur(s) :

  • Richard Canavan

80 - EMERGENCY ROOM | 1'50

  • Orchestral cinématique et dramatique. Tourmenté & tumultueux. Nappes et séquences de synthés inquiétantes avec un orchestre à cordes entêtant sur un ensemble déterminé de percs.

Compositeur(s) :

  • Romain Paillot

EMERGENCY ROOM (underscore) | 1'50

  • Série police/investigation. Tourmenté & tumultueux. Nappes et séquences de synthés inquiétantes sur un ensemble léger et entêtant de percs.

Compositeur(s) :

  • Romain Paillot

EMERGENCY ROOM (30s) | 0'30

  • Orchestral cinématique et dramatique. Tourmenté & tumultueux. Nappes et séquences de synthés inquiétantes avec un orchestre à cordes entêtant sur un ensemble déterminé de percs.

Compositeur(s) :

  • Romain Paillot