Age of Solace

Although there are some good similarities between Jon Hallur’s compositions and the EVE-online soundtrack, “Age of Solace” packs a satisfying punch, combining a rich atmosphere with a really solid piece of ambient electronic music. The big sound here, which is an orchestral drum strike, makes you more accustomed to the grandiose, almost video game-like/movie-like aesthetic.

The soft symphonic choir and piano melody combine to create an image in your head, with the help of a subtle helicopter effect that sits perfectly on top of intriguing sounds with audible futurist textures. This successfully conveys a sense of beauty and emptiness. To avoid oversimplifying its meaning, compositions like these often follow the pattern of stories, and this one is very much about finding comfort in a terrible aftermath. “Age of Solace” is brilliantly created, delicate, sorrowful, and definitely worth a listen. It is well-formed and quite angelical sounding as it progresses.

Ashen

The song “Ashen” would be my choice for the first level’s background music in the classic Ecco the Dolphin Sega Mega Drive game. Let me explain. This song evokes very strong feelings, and there are some sounds that I can only compare to an electric dolphin. I was reminded of that tiny pixelated character from my youth by both of these things.

A vocalization that sounds like a siren runs throughout the song, blending in with the music without standing out, yet rising and falling in time with the track’s complicated blend of hope and sorrow. Additionally, this song has a sense of movement that carries you to a revelation you need to make. It made me think of a show or movie that truly wanted you to consider what you had just seen as the credits rolled. Of course, this song would also fit in well as the background music for a moving scenario in a video game or movie.

Halcyon

The song comes up gradually as the background music is quiet and methodical, almost lovingly teasing you. After a short while of play, the peaceful mood brings a calm and steady rhythm that is a nice change from the normal energetic house music hammering. The track’s smooth and steady tones can promote mental clarity and act as the ideal background music for a weekend yoga retreat or a desert sanctuary. Maybe you’re drinking tea with Bedouins in a pitch-black tent in Marrakech as each note draws you in. Or perhaps you’re lounging in a Zen lounge in New York City’s West Village while surrounded by plush, enormous pillows.

If you’re working late and want to inspire your creativity, this music would also be relaxing in an office atmosphere. “Halcyon” would be a warm addition to any playlist because it strikes the appropriate balance between ambient mystery and relaxation. Replay the song and listen to how the singer’s voice subtly creates the atmosphere in your ears and seductively slows down your breathing. No matter where you are in the world, you are drawn in again by her seductively gentle lulling.

Night Watch

A percussive, upbeat, scramble and dash component is established in “Night Watch.” It’s enormous, vivid, arctic, and incredibly intriguing. This work is moving in a circulatory structure as ambient pads are playing over what could be considered goatskin drums. You might get a sensation of imminent singularity or rush from this piece. Although something may sound like this or that, it’s not usually a good idea to categorize sounds because each song has its own distinct tone.

If you’d want, you might consider this track to be the sci-fi movie or video game music. It would suit nicely in a particular section of a plot and give you a sense of urgency or contemplation. There is tension and a lot of beauty!

Eternal Damnation

In this easy-to-understand work, swirls of a kind of spacey liquid and mysterious aerial sound skirt around wide-open regions while a sleepy orchestral voice fits very intricately. Here, you can definitely hear the ambient music from deep space. Given its enormous expanse and somewhat perilous nature, “Eternal Damnation” does an excellent job of creating this tense yet relaxing vibe in that range of sound. A pulsation enters a halcyon region of resonance and takes on a mysterious tone and a little momentum.

Although these soundscapes blend peacefully, you nevertheless have the impression that you are abandoned in a pitch-black void. This is actually pretty great since it might appear to be tranquil, creepy, or as we might put it, “scary-calm.” However, you’re more likely to picture ships undocking at an unknown satellite where the stars may have become weak. It’s possible that an opposing alliance is monitoring you from a distance. Even though warships might be coming, there is still time to get ready. These are but a few illustrations of how the track is telling and eternal-sounding in its own way.

Northern Lights

“Northern Lights” is shaping along in an intriguing direction, with a devoted main sequence carrying you into more ominous area. Tribal drumming, gigantic sound, upfront, and piercing. You’ll see that it is tactile and gorgeous all around. Thunder lends a much-attributed aspect to the rhythm and tone of this captivating ambient song, giving you a melancholy listening experience.

It becomes clear that it’s calming, clever, almost Darwinian, and has the potential to keep repeating and building continuously in some way on its own. Although it has the potential for much more diversity and movement, it normally has a somber, stormy, imaginative, and well-crafted atmosphere. It would be an excellent track to listen to when driving at night. Very nocturnal and strangely gorgeous.

Arabian Oasis

As the first few notes of this song play, the concept of “Arabian Oasis” doesn’t strike you straight away. But give the song just a few seconds, and the music can create an image so clear your creative juices will be overflowing.

The music starts soft, then there’s a gentle build-up to a beat that definitely conjures up a scene of camels bobbing and walking to an almost mystical oasis. The sound that you barely noticed at first is now distinctly the wind blowing over the shifting sands, and those little light sparkling notes will leave you picturing the stars twinkling in the night sky. If you’re looking for some background music that would fit perfectly as ambient audio for a desert scene, especially in a science fiction game with a futuristic element to it, this is the track for you. With its mystical feel, this track would also complement any show discussing mysterious events, particularly those associated with the deserts of the world. I could also see myself using this track as some ambient music while writing to help inspire those desert night scenes.

Take Me Away

“Take Me Away” brings a calming and a quite stellar introduction here. The words “Take me away” are sung beautifully in this gorgeous little track, female vocals remain concomitant with a notable key arrangement, ever so complementary and natural sounding.

The rest is very well structured, swirling warm synth-pads are almost scenic in their mastering and don’t lend us any acrobatics, but gives a genuine, breathe easy, sit back, unwind, get lost in the troposphere of it all type of sensory feeling. Thunder adds an interesting touch with the piano and vocals combined, it brings a kind of erotic feel into the fold. You’d think it tells a story.

Highway Star

A prevalent highlight to consistent and ambient music is “Highway Star”. The introduction imparts itself picturesque, quickly fading in and building up into something lush and beautiful. Warm and almost retro-sounding pads blanket over in a harmonious and cohesive way, and then transition out to a tinging-whistled almost crying-like melody, nowhere out of place, and it actually doesn’t sound too bad at all. These colorful dynamics give the track a vast and dreamy characteristic like an undiscovered world before you, hitting you with all this mystery, eye-widening, vivid, surreal but allowing you the listener to create your own narrative.

You soon come to discover there are no inhibitions in this slow-moving short piece, that could serve as an introduction track or interlude to some Sci-Fi plethora. There is a sense of nocturnal warmth infused with this sort of relaxation friendly music. It doesn’t come across too elementary either.

Hathor

“Hathor” showcases a little more pulse and fun that really makes up the bulk of the track set aside from shimmering soundscapes or anything alien for the matter. What you hear is an electronic compositional sound that feels a lot more up close and punchy. The recording doesn’t feel so lonesome with a solid beat as such, chill reverb, maintaining a typical relaxed atmosphere, yet less sleepy in its boisterous synth notes and chords.

All in all cool vibe, nice variations of upfront and background sound, like a dance groove, a true banger at that. While it sort of sticks to one lane, fewer thematics in the fold, stronger it seems in rhythm and pace, casting a wider net being more straight forward Downtempo Electronica driven. It is definitely one of the easiest to get into and carries a certain hue of its own, with a bouncy synthesizer, trip-hoppy meaty ambient characteristic, gain-control and volume being not overbearing just more impactful for the listener, it thumps, it slams with a little sharper sound and without being necessarily shrill.

Christmas Elves

For a track called “Christmas Elves”, you could be forgiven for wondering where the bells are. This is not a track filled with jolliness and merriment. There is a sense of wonder carried with every note, and it could be used as background music in many interesting projects.

From the opening notes, that provide an almost comfortable cold darkness, you are transported to another world, a world with magic in the air. The piano piece draws you into this sense of walking along, or peeking inside things, always going forwards. This track builds anticipation like there is a discovery just about to be made.

“Christmas Elves” would make a fantastic track to play as background music for a video looking at the wonders of the universe. It would also fit well underneath the opening scene of a game or movie that was looking to draw the user in quickly. It could work quite well as a backing track to a guided meditation.

I Will Always Dream

“I Will Always Dream” is a psychedelic sound pallet, consistent and blissful, a high peak of what you’d consider atmospheric where female vocals sing “am I a dream?” without seeming frequent, forceful or upfront. The vocals sound far away and closely create this moody undercurrent in a quixotic playground, with subtle-nocturnal forest sounds that are ultimately taking over, and as it all circulates around, reminiscent it is a bit of “Carbon-based lifeforms – Contaminated area” not necessarily melodically or rhythmically, but in a certain feel and direction in that ambient vein.

The high-pitched distant vocals are aesthetically satisfying as well, glistening layers feel really alien and strange, smooth and spacey and without changing the overall vibe. Though there may not be a lot of variation here, the track brings a successful attempt to sounding most dreamy.

Autumn Elegy

“Autumn Elegy” is an excellent piece of stock music that starts off so soft it’s almost not there, and then this strong beat comes in, like determined footsteps carrying you up the side of a mountain. The light vocalization that wafts over the music makes you feel like lifting your gaze up towards something or over something. It introduces this vastness and openness that would make this track useful for so many projects. The track has got a real warmth and upbeat sound to it.

The little rhythm that plays throughout brings with it an element of grandness and inspiration. This track would also make a great choice for background music that would fit very well as an intro to a travel vlog or podcast.

Genesis

A sense of unity accompanies the sung words “I found you” in this zenith of production, wonderfully constructed, soft and seraphic. The sound of “Genesis” has character and is likened to hang in the background but intended to have a subtle effect on the listener. Female vocals and bright swells on this give the sensation of floating. It does feel like a conscious attempt to a hypnotic gentleness, bright walls of string, even though there may not be a strong component in your face so to say, it is a bit cerebral in places.

Dazzling brightness imbues this piece with sedating pads, swishing properties, Stradivarius-like high notes lend a scenic overview of wooing, relief, and enchantment. Lower pitched rumbles enter, and a mild bassy taction hums nicely into the equation, all maintaining clarity and synchronicity with the sounds. Background noises are persistent and take on an easy-listening experience as the rest of the elements glisten over.

Signs

Sharp, bright and divine is the track “Signs”, an excellent warm soundscape with no percussion but a concise and pumping, muffled bassline, running cohesively throughout in a relaxed synth pad infused atmosphere. Irresistible are those high-sharp tinging notes with a well-balanced echo, painting the landscape before you, and similarly to Gershon Kingsley “Popcorn”, or Aphex Twin’s “Ageispolis” not melodically the same but auditorily like cousins, for these aesthetics of ambient seem to share something special in that sonic vein.

It is a type of atmosphere that makes you feel like you’re somewhere high up in some snowy alps, a helicopter docked somewhere in the mountain. I think “Signs” accomplishes this picture quite well, and the bassline seems to encompass some chillout/electronica vibes.

Away From Home

“Away From Home” is a little royalty-free music track that is pure cinematic gold. There is an almost James Bond sound to it, from the first, nearly symphonic notes, and the rising sultry vocals, this track builds a sense of darkness and drama. It’s exactly the sort of music you could picture playing in the background as the hero is in that climactic moment where they realize the gravity of their situation, come to terms with what they have to do, and/or acknowledge just how far they have come from the beginning of the story.

There’s a little light tone that adds an element of hope and purity to the track that provides a sense of looking forward. It seems a little too large for many projects. Still, it is definitely an inspirational and awe-inspiring piece of stock music.

Harvest of Innocence

An underground tunnel-like feel to “Harvest of Innocence” kicks into your imagination, familiar to your ears until piano keys relax the mood a bit further, lending you a sense of innocence and calm. An electrical tone dawdles, phosphorescent, nothing odd or out of place but sonorous, extensive with long underlying textures to contour the atmosphere admirably so. You also notice the sound of water, some rings, buzzing, swooshing and bunker-like hits in the track, all copacetic, not invasive in any sense of the meaning but keeping distance. On that note, nothing in the mix is pushed too far back, nothing is penetrating or haunting but illusive-calm, almost subterranean.

You can appreciate the tinkering that went into this ambient contribution, sonically long-standing, patient and still. It definitely leans in that direction of diving deep and creating a mood where the noise passages amp up the futuristic Sci-Fi propulsion, something many of these tracks are consistent with, whether they work as small portions, full-length tracks, interludes, introductions, etc. This particular listen establishes itself as a signature piece quite well.

The Jungle

“The Jungle” is a truly phenomenal arrangement. This is a really fun track, awe-inspiring, catchy, cool and simply breathtaking. It sounds like a really awesome level or a film sequence with a lot of action. You’d almost expect the drums to get louder or something to get closer, but it is punching you with adventure and overall, it is quite an engaging listen.

If you’re familiar with old games like Turok, one may consider this piece a close cousin to fit that particular soundtrack world (although it’s a bit old-school). The harmonies are commendable here, the synth layers are quite fresh, have no gimmick and plot along nicely giving you almost some picture of a huntress, chaser or trapper on the hustle.

City of Titans

“City of Titans” has this sense of size and enormity, with its open-ended notes reaching for something, just like skyscrapers towering above a city. The synth sounds bring about that feeling of lights zipping past you, and the music takes you on a journey to discover something new. There are these regular deeper little notes that add a dramatic flair that adds some impact and almost a sense of urgency to the track. You can quite easily imagine it playing in a sweeping opening shot while the title cards are playing, or as a dramatic touch underneath the end credits.

This track would also work very well as a piece of music playing behind a video regarding a serious science subject, like information regarding a virus outbreak.

Land of the Lost

Continuing further along with this cutting-edge soundtrack music, “Land of The Lost”, a darker, more supernatural sonic specimen, helps you to see the imagery in your head quite clearly just as it sounds. A kind of Draconian monologue brings out the creepiness in this interesting use of samples and textures. This teeth-gnashing, haunting largeness would be a great conduit to some motion picture scenario like a young heroine sneaking around the outskirts of some hellish war planet. At times it also sounds like something is rising from a lake, feasting upon something, a pipe is leaking or a hunter is being hunted.

It’s very gripping, thick, alien, factory sounding and spectral. These soundscapes would perfectly soundtrack a vintage Sci-Fi film, without a clear melody, it hammers you with intensity and madness in a most satisfying listen.

House of Wisdom

Tribal drum hits and percussive taps lend this piece a natural draw, serene and novel with every listen. This, also sounding quite relaxed, holds familiar pleasantness to one’s ears. Natural sounding percussion executes the atmosphere quite vividly, followed by these cerebral background swirls of calm with synthy arpeggios that almost encompass a brightness about it as a whole. “House of Wisdom” occupies a certain spot in the ambient music realm, a standout climate, a sense of arrival or travel to some faraway destiny, and it sustains a tangible rhythm, more a fantastical style and a bit less of a computerized element at play throughout.

Smoothly painting a portrait in your mind is this outpour of smooth-on-the-ear feminine vocals in the instrumentation, posing to be the track’s greatest asset. The vocal work here simply elevates the track and takes you deeper into this spectacular odyssey.

Unworldly

A quiet beat is noticeable in this warm padding of sound, soon alongside more apparent percussive dynamics at play in the mix. There’s more to it that animates the landscape, like that of an intergalactic forest, swirling noises, Sci-Fi-esque effects escorting calm layers in this colossal sound. They simply blanket over without compromising quality as the fruitfulness of the vocal work permeates your very being.

The instrumentation and effects can all be heard quite clearly and metrical. Nothing seems to overpower anything else but flow very cohesive and gracefully. This is the elegance of “Unworldly”, superb, uplifting and celestial sounding.

Walk Beyond the Blue Mist

The introduction is a pretty sounding one, but one word comes to mind after a full listen. Enchanting! This lovely piece neighbor melodic drips in impressive forest soundscapes, without necessarily being too loud, quiet or boring for the matter. A kind of dizzy pad alongside a dreamy flute delves deeper into a warm midsection which leaves the track impressionable for any listener.

Futuristic effects maneuver in and out clearly, and there is a quixotic feel to the atmosphere, the pace, and musical fluidity building into something amazing although cut a bit short. “Walk Beyond the Blue Mist” will take you by surprise in its mellowness and effectiveness.

Winter

Embodying that ominous sound with a quality synth and bassline that really shine all the way through is “Winter”. Some singing vocals are apparent and instrumental. If it had a more prominent beat, it would almost be something you could dance to. You could probably dance to it either way. It is a classic sounding ambient electronic piece, chilling winds, nothing at all you would call pretentious, a bit dreamy and arctic in its characteristics.

The accent of icy chime and ringing elements are subtle in range, well in flexibility, even fading in backward, but echo easy on the ears which is a remarkable achievement. Exquisite tranquility at its finest.

My Life

A deeply passionate and beautiful song evident by not only crisp production but outstanding vocal colors. A man and woman component shine through consistently in the song with much smoothness, soft dance-worthy and familiar. Perhaps one may find the bpm aspect a bit overused in the production sense, but the variety of instrumentation envelope quite nice and courtly. As a listener, one can truly appreciate the exotic flutey high points, the dramatic string sections extending much landscape. There are little sitar elements, acoustic subtleties, and a few piano elements as well, along with elongated singing bits which emit a sense of elegance and charm.

“My Life” is a track that without a fret sounds and feels inviting, not to mention heightened. It captures a kind of dance at a wedding choreographic/cinematic spirit about it, yet it feels light and simple, something which could lend an integral hand in Hindi films for ages to come. A simple mood is ensured not feeling alien or disenchanted, but capturing a peaceful romance, sonically charged with a warm greeting, epic string scales of a motion picture quality not too polished but exotic. Something about it is quite heartfelt, emotional and scenic, especially in a traditional Bollywood setting.

Ashchary

What we hear are these caustic ethnic rhythms, predominant production, some pretty breakdown hip hop dynamics, a few Bhangra proportions shining through quite glamorously. It is very high energy, eclectic and traditional sounding. Music as such impresses you with a Hindi film Bollywood soundtrack type of scenery by in large. You notice that flute accents present this image of a fruit tree in a garden, whereas the electronic parts instill a modernized sound staple, almost club-friendly, party on the yacht in part with this boom-boom feature force.

A synthesized sound joins up with exquisite Middle Eastern female vocals. Exotic vocal bits, in particular, feel entrancing and hold the track together quite smoothly and telling for the most part. A busy track in fair definition, a rather standard Southeast Asia/Indian style of extraordinary sonic creation that makes you want to move. Nothing feels placid or out of place but enticingly active all the way through.

Pehla Nasha

“Pehla Nasha” opens with a synthy infusion, solid percussion giving the track a strong presence, slight Hip Hop dynamics, cheering you on a vibe, a particular sporty feel to it with the background “Woah Woah!” boys doing their thing. A female presence stands out quite lush, little violin and low-pitched harmonies engulf carrying much weight, and traveling along beautifully. A few dulcimer elements have a lasting impression of fairy-tale quality, temple-like imagery. A type of beautiful architecture comes to mind, to put it lightly with the, oh so lush and exotic scales providing a nice shaping to the piece.

There is a lot of cheer quality to this one, it will make you want to get up and dance. There are mellow flute and acoustic bits in sequence to end the song on, which is quite a nice surprise as well. Again, a flute is particularly glossy and maneuvers well over the more electronic beat, which may be coming across a tad generic but it seems to work okay here with the diverse percussive landscape. Very culturally engaging, strong eastern sound, not superimposing but a good vibe all around, also a little piano is brought into the fold and leaves you wanting more.

Bachelorette Party

An emboldened piece that is majestic, not forceful, traditional in landscape and breathtaking. Southeastern dulcimer type of sound lends this fairy-tale quality to the track, which is pretty cool. The string section and vocal parts integrate nicely to form the rest of the shape. While you may not be so sure it feels like a bachelorette party, it has a mood and feels like a party going on inside two people. Such things combined to bring this piece to all new altitudes in terms of creativity, movement, and execution.

Poetic excellence comes in a pretty hip-hop-infused vocal package, clear, concise, romantically courteous and full of win. Something that would fit particularly well at parties, weddings, and festivals for there is a kind of an all-inclusive vibe, no sense of abstraction but a pleasant song experience with an easy listening Hip Hop groove. Some would say it’s a piece of music that feels like a good old friend.

Mundo

Watch your ears. A fresh highborn of rhythmic beatboxing and vocal delivery, easy to get into contemporary Hindi pop production, freestyle in formation, righteously smashing, kingly with a distinct harmony, festive ghetto blaster characteristics, furthermore inviting and hot like fire. Need more be said, a song as such pertains to what could be intended to match the dance facet or script of a Bollywood feature film.

The rhythm sports a Punjabi radio-friendly stamp, it sounds like a type of track everybody would know it. Something like this invigorates a regenerative sexiness that doesn’t procrastinate in the least but attacks with traditional tang. Tracks like these come as something to bust out in the car, “in the club” or out by the poolside as it strongly captures an all-inclusive feeling, summer BBQ good vibes, wham-glam bachelorette party jam music. “Mundo” without question feels like it’s nineteen ninety-nine with some attitude and game.

Payaliya

A song that will leave you excited for days to come, exhibiting potential dance moves in the traditional Bollywood sense, and giving utmost expression is the very potent sounding “Payaliya”. This song like others exhibits a party-friendly, good times vibe. It’s cheerful, chill, less boom-boom action, just pretty upbeat, subtle and sweet on the ears. There is some very interesting oud and synth dynamic if those are even the right instruments to be mentioning.

As a listener, you do notice more traditional roots noodling through the production. What’s pretty likable is that they provide a lot of flavor and structure. It’s a very interesting piece of music which can be a challenge to describe in great length. If you’re looking for something to dance to, put this on and go for it. Vocally consistent, star quality, radio-friendly, all-inclusive sound. Stellar harmonies, intricate grooves, car, club, and mansion worthy bust out some moves type of song.

Let It Be

Another great and notable one is “Let It Be”. A motivating and whole sound that feels honest and has quite a bit of bounce to it. Firmly established, strong inter-city roots, vocal variation, and rhyme speed give this track much stylistic flavor, all while neighboring that Bollywood trajectory surprisingly well. Middle Eastern components still carry this track throughout and give it much weight and partnership.

Compelling flute, intricate string sections, sunbathed acoustics, and percussion inserts everything with a positivity, and one can not only come to appreciate the rhymes but the collective talent and originality that went into it. While it feels strongly Hip Hop driven, it carries its own fire. Beautiful exotic high notes, a sweet vocal that glides out of the ashes and over the Mid-Eastern strings, the beat, and flute unfolding into this awe-inspiring tapestry of sound. The rhyme busting aspects of this track alone would be enough to bring a good rumble to the frat house. Conscious lyricism, clean production but really consistent performances.

Sweetheart

Electronically punchy, it oozes with style and some interesting licks and clicks right from the start. There is a pretty cool beat, a soft vibe, it’s very acoustic-driven and engaging but it embellishes a sweet sound in fullness. Ever so present female vocals rest easy on the ears, exotic and pure, romantic and lush, solo sounding and believable.

Nothing feels too chimerical or overhyped as one can appreciate the calmness and mood it sets. It’s exceptionally refreshing than meditative, satisfactory with a few English words from a second voice, encompassing some rap elements to the style of the song, it does have these man and woman characteristics intact while Middle Eastern strings paint the landscape of the song perfectly. It’s very poetic, glamorous, tender but existent. It doesn’t feel overproduced in any sense, nor particularly dreamy under consideration but prompt, infatuated and happening now. It’s very mellow, it takes on a Bollywood entrenched Hip Hop dynamic holding true to a pop song flare.

Dove

There is a rather obscure introduction with faint spoken bits and muffled flute, but you are hit with quite an unforgettable Bollywood sound nonetheless. A hip beat attacks alongside flute now being brought to the forefront of the production, where synthy elements and orchestral strings ranging high in pitch, take form and paint a beautiful portrait in your mind. Quite standalone feminine vocal work takes super exotic angles, some intricate and busy sounds are prevalent before the beat takes full force again.

There are quite honestly a lot of nifty things going on in this song. Distinct percussion and an electronic force allow a flexible ebb and flow accompanied by a Mid-Eastern arrangement. There is more breathing room with tracks like “Dove” and what you may find most enjoyable here is a harp, instruments as such which give a dreamy feel to the landscape, infused with a bit of romance, utopia, and heightened glamour. The song is very upfront and colorful, many sounds feel separated at times but shine on through cohesively splendid. Great melodies and harmony throughout.

Starlet Party

A luxurious and proud, honorable sounding little song. Scenic as well culturally lavishing is this pop-infused tune, something many could gather around to have a good time as it plays. Rich Bollywood finesse, great vocal delivery with flute scale escapades rather consistent and fun. There is an uplifting vibe, a nimbly undercurrent to “Starlet Party”, quite rhythmic, rich-sounding in style with catchy acoustic and percussion. While the mastery doesn’t come across necessarily obnoxious or blaring, it seems to be quite calculated in terms of sound elements.

As a whole, it leaves you with this pumped-up feeling, party-friendly atmosphere, high energy good feeling and the instrumentation is nothing lackluster. You may find the flute dynamics are particularly glossy in the mix and easy listening. It’s an okay song nonetheless, not super immense but highly ballroom deserving, glamorous, noble in its approach, and could pose as quite reputable in terms of being radio-friendly. You do get a sense of cohesive groove and swagger coming away from it, to say the least.

Beach Breeze

A great tune that familiarizes you with popular mood music is “Beach Breeze”. Presented upfront is straight-forward and instrumental clarity, without any particular buildup or isolated parts, this vacation getaway of a track embarks a kind of utopian atmosphere. Your ears get a very laid-back vibe with a rich pallet of bass, elegant sax, and bright guitar strums. The guitar and strange swirls bring about a sense of sun dizziness to the mix.

The elements set up a type of tropical seduction, relaxing in a hammock, mellowing out with the summer breeze on an island with an umbrella drink-type vibe. A saxophone is executed particularly well to encompass that Chillout/Lounge style, while not being piercing or overpowering, just buttering over quite flavorfully. It feels like you’re at a party or an after-party at that. The bass tones are unquestionably sensual and though this nicely crafted tune could use a bit more island-like dynamics such as congas and waves rushing in, it manages to accomplish the mood it intends for.

Enigmatic World

What a sound this is! Starting off with retro-80s sounding synth keys for its introductory mark, the short buildup takes a form that is bittersweet and bubbly. Behold an elegant work, a positive jam where synth swells pulse out and neighbor buzzy bass touches. It holds a solid beat with a sensual dimension and there are a bit of Deep House characteristics going on as well. What makes it oh so special and tactile are these particular sonic textures working together.

A track like “Enigmatic World” is something you could easily fall in love with. The easy-listening yet ever so prominent synthy note-bends offer an intriguing fluctuation gliding over a downtempo-friendly beat. It is a piece that sounds unique, it’s circular, it feels like a smooth summer night, emotional, hot, wet and loungey. You do get some nightclub vibes from this thing but what it extrapolates is a pretty feelgood vibe throughout like a friend at that to uplift a sad soul.

Frails

A thick and heavy bass line merges in at the beginning of this blissful production, acoustic and electric guitar dynamics stand out, crystal clear and immensely so while melodious tingly warm and lush notes hit your ears with some interesting flavor. A track as “Frails” is something very melodic but astoundingly sweet. You could almost compare its immaculate sweetness to a piña colada, a freshly sliced orange with an imperial red toothpick-umbrella to give it fullness and presentation.

While the track evolves quite elegantly, keeping to a particular lane, there’s more of a bright sound at work that one can come to appreciate. But of course, with much emphasis on the melody, those underlying almost Spanish-like acoustic bits are just so juicy, awe-inspiring and downright addictive all around. One of the more upbeat, magical, balmy and delicate sounding works of Toxic Audio Labs. It sustains a very well executed movement, a qualitative tone, and an engaging range of sound. Tunes this beautiful move the mind and heart through time itself.

Deep Ocean

What you hear is an exciting and fresh composition, nothing falling stale or dull in this color of sound but it is pretty solid in terms of rhythm. While refining a playful exotica, hard-hitting yet smooth dynamics make themselves ever so present here. Nifty and warm guitar tones infuse beautifully alongside an involved beat. Sensual bass and lush effects are soon accompanied by an awesome oceanic organ.

This organ gives the track an undoubtedly good times vibe, almost a bit like a scuba-diving experience, dolphins passing along, and on the wavy watery surface, the sun may be setting while palm trees are likely to dance dizzy in the breeze. Perhaps you aren’t entirely sure that you get the sensation of being deep underwater, but “Deep Ocean” is what listeners may likely coin an ocean of joy. A warm familiarity encircles the track quite satisfying, purely pleasurable in tone and range, cool and suave if you will, for it could also lend a sort of mental impression of day surfing.

Moon

A flawless track that is quirky, feels inventive and compellingly psychedelic at times. Mysterious vibes give a mood and mental impression of wandering around a night café. A stimulating listen for its unique and interesting sound, slightly beachy and scenic, making for a good sense of comfort infused with these alien synth effects. It’s almost like a beautiful melting canvass in a sense. It sounds really cool in how it is executed from start to end.

While being suave and refreshing, “Moon” is able to communicate its idea with a sense of humor, spacey ambient in the formula, loungey and not boring. It is also a bit similar to the works of Shpongle. The strange vox sounds, for instance, give off a kind of alien feel whereas the rhythm on the track is pretty contemporary with a nice jazzy time signature, smooth cymbals, well-punctuated hits without any tom-foolery. It makes for an interesting combination. I would also add that the background intricacies complement the bass tones exceptionally well.

Summer House

The percussion section, like sunshowers, all hits down quite lush and soothing and pulls the track forward, giving you a sense of movement, and a bit of imagery like standing from a balcony of a tropical beach house in the Philippines, while perhaps a champagne glass remains left on a table, half-drunk from the night before. Though it may sound cliché or overused, elegantly peaceful is a phrase that may come to mind when listening to “Summer House”.

A track like this feels very easy-listening, electronica-inspired and signature chillout in its groove, pace, and tone, none-elementary or lackluster, but paints a picture and possibly suggests something as such would probably fit nicely into a compilation mix neighboring mood type tracks like “Cantoma – Overtime”, “Sting – Windmills Of Your Mind”, or “Deep Forest – Sweet Lullaby”, among others that share in a kind of mood, not necessarily the same genre. However, parts of it seem to stand on its own while the intricacies, brass, bass, and guitar melodies infuse in this fresh production value, cohesive, tame and chilled.

First Off

Lean back and take in the scenics with something healing to the ears that is “First Off”. Coming in with a Hip or trip hop-ish angle for its takeaway introduction, soon you’re listening experience is met with intricate Brazilian sounding percussion accompanied by claps, exotic bass and it is pure consciousness from there. Something to serenade your sweetheart with, a tune that could be heard at a tiki bar on a long stretch of white sand as the sun is about to set.

Structurally, it is classy and well arranged, it sounds like being lost in a summer dream, paragliding over secluded islands under the clearest blue sky, for it could also pose great to escape this stressful world and find peace reminiscing of good memories. A tune as such evokes different memories and emotions in different people. Incorporated in here, trumpet scales to leave you tickled pink, a faint delay on the final accent that relinquishes and sets in again like sunshine in your heart.

Prologue

This track has a real charm! One so good that it is a bit difficult to put into words. And with its exploratory sound, it’s simply awesome. Short and long bass notes, an excellent little arrangement of synth, electronic layer, and all-around natural flow of instrumentation, there is an inspiring feeling associated with it. What you may find oh so pleasing, calming rhythmic ticks and taps, all-embracing warm sound unraveling beauty, intersections of softness and endearment in the fold.

Something like “Prologue” could pose to be a qualifier listeners coin as a personal favorite without a doubt. A haunting feature of delaying piano keys unfurls in the background of the track with a bit of reverb, lush-quiet but sharp and they play an integral role in the arrangement. There isn’t much to dislike here. The melodies bend, slide and contour in ways so interestingly. It’s peaceful, relaxing, dainty, pretty and particular, and ultimately sweet-sounding almost as if a flower had sound.

Sweet Dreams

What’s not to like here? By some coincidence, you find here something lush and magical. This sleepy number entails a kind of starry trail that takes you away for a while. Inoculating plucking endures ever so gentle on the ears where subtle keys have a likeliness of bringing goosebumps or tears. The track “Sweet Dreams” has quite a unique pace, motion and the horn swells evoke an almost happy feeling, maybe a tad ceremonial or celebrational but very relaxed.

A gentle wind swooshes in giving the listener a sense of distance and altitude while parts of the instrumentation get pretty quiet. Ultimately bass and synth notes, horn section, all being pretty well-balanced, nifty how they jump in together to play their parts as a substantial component and well given for the song pertain to a nice contrast of quiet. It is elements as such which offer much beauty, color, and character to the composition at large. If you’re into mellow music, this is another unforgettable one! A highlight tune, super endearing sweet-sounding, a cozy feeling like none other.

Womb

Tracks like “Womb” pose ideal in their formula for what particularly makes us so calm and okay with everything in life. There is a sort of charm associated with this, nothing intoxicating and not necessarily meditative but thick and exciting. A pumping bassline marks for a wonderful introduction here, retro vibes lift-off and it feels like flying to a degree. Nostalgic characteristics unfold beautifully, synthy excellence is at hand where these little notes envelope sleepily, dainty and heightened, not bleeding out to you but typically relaxed.

Structurally, it is not bad of an arrangement and though it stays in a particular lane, there is a sense of productivity with the piece in the sense that it could stand alone for ideal study music. But, wouldn’t want to kill the spirit of the song by adding too much interpretation. Everybody will have a different opinion, but one thing is for sure, it does not disappoint.

Almost Family

Brought to you in part with this rural Americana vibe, something here does feel quite honest in its roots, partaking in a kind of patriotic mellowness that’s weighty. Instrumentally, it doesn’t try too hard to be tame for the matter. Bass, drum, and guitar dynamics are steeped fair in cleanliness. Rhythmically it is not what you’d consider sleepy but uplifting/heartfelt. Bringing about an elevated mood here, it’s not necessarily what you’d call timid but fresh. Guitar leads come across impassioned, feel rich, organic and rock-driven. A freewheeling guitary landscape gives you a sense of liveliness, and almost paints a picture like a beautiful meadowy morning, shaping what you’d imagine a hug from a best friend would feel like.

As an instrumental piece, guitar styles infuse slight Buckethead influences, twangy notes have an immediate connection to this Southern characteristic without coming off cheaply packaged or overproduced in any way. Tracks as “Almost Family” don’t feel too rushed in their partly acoustic nature but calmative as they maneuver along, “moment” infused, campfire friendly so to put it. It is feel-good contemporary music like a bright day, a good time at that.

Pickup Truck

Fantastic track, acoustic greatness, chipper bassline, a typical driving down the road type song one could argue is timeless, and not too cheesy. Surely, this takes the cake with modern contemporary Country music and it sounds just as it’s titled. While you could easily call it Southwestern, Midstate blues-infused, acoustic folky, it’s worth noting these elements contributed greatly to many of the genres of music we have today.

“Pickup Truck” is everything you would want from the title alone and goes over quite well in terms of substance and execution. Rolling down some interstate on an eighteen-wheeler could qualify nicely for it as well. The guitar work is quite scenic, lush and chipper, it doesn’t compare but certainly, neighbors a kind of style paved on early by the works of Robert Johnson and John Lee Hooker at quite a profound level. Go down to the bar, have a few drinks, or simply invite some friends over, play this, guaranteed good time.

Barn

There definitely seems to be a lot more color here, especially in terms of guitar playing. Something you’d hear sitting at the steak house perhaps, very community spirit, hard-working, but kind of laid back at the same time-type of sound. Slick plucking and picking of guitar chords fuse well with pretty steady rural acoustics, accompanied by drums and a bass line like a pickup on the move down a dirt road that gives the song an overall sense of American dream, or working-class glory.

Breaking out into this full sound is a track that incorporates shiny harmonics, a bit of twang component with a clean electric riff. There is almost this likely impression of hound dogs behind a gate down a long gravel road, wagging excitedly at the view of their master’s tractor rolling homeward. Also, a distinct end bit gives “Barn” substance where it doesn’t necessarily feel like a generic loop. Big production sound, familiar instruments give way for great punctuation and superb delivery.

Whiskey Lullaby

Already proven to be acoustic-driven is “Whiskey Lullaby”. Blissful strumming pouring down like bourbon that won the wild west, twangy melodies respecting their history, fine and dandy electric guitar notes spilling in like a kind of wordless poetry over bass and rhythm. The bass, savory and obedient, infusing short and long notes considering a sugary landscape.

With a lonely-hearted and calmative tone, the drums are actually not upbeat but pretty apparent in delivery, routine but not stiff on the fills. The key shift on the strums is superb sounding and nicely crafted, shining with personality, good memory and though this concoction of sound feels a bit mild, there’s a certain identity to how it flows and dances with melody. An average listener would likely consider something like this to feel cozy. It also sounds like the music you’ve been raised on, stuff your father or grandfather enjoyed as they were growing up. A fun one nonetheless.

Return to the Fold

Probably the niftiest, oh so appealing, catchiest instrumental Country tunes of the Toxic Audio Labs batch. This little piece of music immediately feels like visiting a place you just don’t want to leave, a cottage by the lake, a forest trail undiscovered, perhaps the price of fuel has gone up in some small town but you just don’t care, you just bought a new vehicle and set up a canoe rack to the roof, or something of that nature. Stylistically, exceptionally engaging, great hook and movement.

A calm introduction spills into the mix, the next part brings in great color and dynamic carrying the track right through. Being quite a hook, the second part poses to be the track’s strongest quality and is something to fall in love with. While guitar leads burst over summery acoustic strums, one could easily characterize “Return to the Fold” as traveling on the road jam, but ultimately compositions like this one, they take on a pretty distinct character quality of their own, even though, music like this has been around for a long time. Amazing really.

Back Roads

With a road trip kind of sound is “Back Roads”. It is excellently structured, fast jamming and straight to the mark, contemporary Southern style, stolen pickup fleeing, horse racing, wife chasing, sheepdog trial sounding, struggling to control a foal tune. Though it partakes in a modernized production, what we have here is a pretty familiar sound. You may have heard similar things in films to TV and video games, and if you haven’t, all the more power to your imagination and taste. The ride cymbal component adds much animation to the rhythm, without sounding too littered or chimed in the drum section.

The track has an incredible sense of speed and landscape that is irresistible to enjoyment. The tempo and mood one could argue it is likely to capture the imagery of a hunting dog giving chase to a field rabbit. Very uplifting, rural infused, Johnny Cash livin’, sense of humor to it, an exemplary sound, whimsical, exhilarating Country Rock signature tempered with noodly guitar layers which make it an all the more worthwhile and compelling listen.

Island Living

What pertains well to traditional Southern style is a track here that will escape you no more. “Island Living” has substance, experience, manliness, upbeat acoustics with burning electric guitar licks. It’s very Southern, bluesy, aged with hard rock café vibe to it. It’s something you would get up and dance to and equate to a fun jam, for it blisters with tasty guitar bits, gritty rocking lead, and a tight close-off. It is pretty consistent in its pace, movement, and repetition, being this out on the bayou, heartland rock, pub-going, beer-drinking class of a song. It’s something that feels proud, loud and rootsy, a fun time however cliché it may sound.

It’s a stylish little number that doesn’t abandon you with a heavy hangover but takes you home. The ending bit ties the song well and breaks up the monotony from it becoming a loop. Not to oversell it, but you do get something stellar, rock-solid and ass-kicking for such a short amount of time.

Hello Again

Incorporating more slide guitar elements into a solid guitar jam is “Hello Again”. A rockin’ mellow mood, a beat that isn’t necessarily fast or slow, an evening-feeling vibe, sounds that are all quite scenic, subtle but mark their territory, quite Southern rock-infused and very acoustic-driven. It has a likable quality right off the bat, and well placed in the map of the song are some cohesive guitar leads that bring nothing but joy to the listening experience.

With a kind of “Nobody’s fault but mine” edge to it, everything comes in pretty organic, guitary, beautiful and lively while the main riff stands on its own to be quite an earworm at that. It exhibits a studio musician’s knack for attention to detail. Powerful mids and clean highs. The drum fills, bass and guitars all mend together lumbering out loud but all so smooth and clear. It also has a swagger to it with the electric riff and is quite honestly a lot nicer on the ears than the majority of today’s “country” music songs.

Everlasting Nights

Oh gosh, you will want to have this one on repeat for sure. Very good, early rural Country atmosphere, intricate, flavorful, sharply acoustic-driven with a sexy infusion of the electric guitar. Some really great sound dynamics at play, super tight in tone and range, very traditional Southern rootsy-feel, a bit of that hard rock front but it truly does not disappoint the common listener.

Not to be too comparative here to past alt-rock acts, what you hear starts with this familiar Goo Goo Dolls sound, embarking on apparent studio-quality and very upbeat rhythm, different time changes, really beautiful guitar accents, fast and slow parts that are ultra awesome as well. It has kind of Days of the New-esque acoustic noodling that feels very rural, amazing mellow section, an intriguing and unique guitar solo to follow as well. “Everlasting Nights” is a lot of fun listening to and has one of the niftiest little endings by far. Definitely a five-star little ditty of an instrumental.

In the Dark

“In the Dark” pelts off quite bright, beautiful and strong like a patriotic Country song, intricate guitar works, something that feels very on the go, and could nearly act a cousin for an upbeat fiddle tune. The guitar structure could soundtrack a long train speeding through a tunnel, passing sunbathed greenery and scenic farms. And though lyrics would fold into the mix suitably well, an example of what one takes back is a sense of optimism in a hard time, growing up poor on the other side of the tracks, bringing a message of hope in the fields that people’s fathers and grandfathers used to till.

It’s a very upbeat, summer-happy sound with a sort of “will I ever get out of here?” artistic undercurrent. It almost poses a metaphor for hopefulness and resilience, it’s appropriately reflective, shiny, flashing back to bootleggers, coal miners, house cleaners, the soul of the struggling out on the road, like the sound of some guy from out in the middle of nowhere hitching a ride into town to find an industrial job. An incredible standout from shadow to cheer, and elegant it is in production with a not to mention stunning variation and luscious ending. Perhaps that is a bit of a stretch though and it’s just marshmallow roasting kind of tune.

Boombox

The opening segment comes in pretty bass-driven and pumpin’ and could easily invite in Hall and Oates-esque vocal work to the fold. The pulpy “good times” bass lines give the track a nice groove and shaped with clap bits, quieter synthesizer parts that stack in nicely, and other shining background variants that go over quite soul-soothing, even a bit jazzy and relaxed. The reverb and echo constituents give this open space feel to it, all quite commonplace and broad, but seems to work fundamentally well on this track with the bass carrying everything through, clear and precise.

A shiny banjo-tinged chorus glides over and the music genuinely feels like an enjoyable dance number. It also pertains to a melody that sounds like it could go on and on. You’d almost be expecting a saxophone solo in there somewhere, but the uniqueness of the track is more jive than funny, more exhilarating and refreshing than before, and the body of work stands out from the rest. It’s very fun and bright. Remaining true to much of those 80s elements, this one, in particular, it’s easy to get into and will grow on you after a few listens.

All I Need Is Love

What you hear is a high energy, a pulpy danceable, ripened track with some soulful interfusion, an old-fashioned sounding 80s banger, retro synth hints, and funky guitar plucks that’ll make you want to pump up the jam. Take it with you in a convertible Corvette or anywhere for the matter. It holds true to a familiarity of wordless funk you could’ve easily breakdanced or roller-skated to back in the day, but this track pertaining to more recent times is a standalone production. Piano keys to thick funky bass lines set this imagery of old-school New York City street dancing but perhaps taking place inside a neon flashing dance venue.

At times maybe your ears hear Rick James samples to possibly even some early works of Daft Punk, or perhaps you beg to differ. Though, it doesn’t feel super raw, deserves much recognition of how it falls together. While in different places you could hear some roots of a track called “Break Machine – Break Dance Party” one wouldn’t call it a similar piece or a concoction of sorts, and if you’re not into this one, I would check that out and see how they both relate in some ways. Great old school vibes that go hand in hand. This piece has a very honest, romantically suggestive and bright trait, chilled vibe, and what’s cool is how it manages to stay true to its roots, upbeat yet it’s so smooth of a listen.

Below Zero

Straightforward jam, big production sound ever so gratifying for all-purpose grooves but driving up the dance factor for this delicious Disco nugget. Something that will definitely make you want to bust out all kinds of moves on the dance floor, a rhythm that is dominant and uppity, establishing quite a suave pace and motion without feeling indecent.

“Below Zero” is a track that although may not lend a whole of variation and change-ups, you’ll notice cordial percussion, background swirls, and high noted midsections all make their significant stamp.It certainly shares an uplift and falls into the same vein as being beastly dance hall worthy. It proves itself to be quite persistent with 80s retro vibes, funky old school high points and pumping clarity with no annoying sidechain or DJ pomposity. Overall, low buzz tones grooving along like a form of breakdance, and smooth E-piano keys bordering this repeat pulse parameter, yeah what can be said here? They steal the show.

Happy Song

Some strong Italo-Disco variants come out here more credible in this pretty loyal to the core “retro sound”. While an opening like this would almost come full circle with some Hall and Oates type vocals added in, what’s noted here is this almost euro-dance little number with some of these luscious low and high notes, and then even a bit of dance/house piano dynamics that really speed up the mood of the track, and doesn’t come across too cheesy or generic in the process.

It evolves very beautifully with bright synth moments, as these make way for some pretty awe-struck melodies while fat bass tones flow under this persistent upbeat flavor, bringing much of that dance groove to the forefront, and bold emphasis on the title of the track alone, quite true for how it sounds. It resembles that of a grand old time, a legitimate dance classic, a nostalgia trip, a Miami infused day song you don’t get bored by, a few dreamy components here, there, but something really fun to get grooving to. It takes on that cocktail drinking, L.A cruising, summer party vibe, rockin’ beach sunglasses, or that Six Flags-friendly scenery. And as crazy as it may sound, something that would even pose well for a 90s dance party compilation mix.

Born On The Wind

Stellar retro tune! An engaging kickoff but that is pretty much a common thing throughout. Though it is structured quite ordinarily nice, nothing falls too flat or lackluster sounding. This one will not disappoint, however. And it feels like a party track you’ve been waiting for. Super catchy, lovely melodies, synth-wave notes ranging long to short that hit down and accent themselves most beautifully here.

Outstanding musical atmosphere, excellent variation bits, lots of colors, propelling aesthetic, keen bass grooves that carry the song for such a short amount of time, and with much old-school trajectory that stands relevant even today. A standard 70s and 80s synth funk style for a typically sharp production executed with a modern flair, superb fun electric feel, dance-friendly, a kind of beach city, boombox driven, sun splashy Beverly Hills vibe. An almost scenic ingredient of cruise control drive with the top up, heading down a long stretch of palm trees, something of that nature you may find running a bit hand in hand.

Retro Planet

Night club moods make up for a legitimate first impression, while frisky guitar hooks drive the track and simply ooze with sex appeal. Synthy motion strikes gleam over and pave the retro path not so less traveled, like quantum jumps through time for the good old days. Enjoy this genuine toe-tapping, ballroom blitz of an instrumental, pulling in modern production as it does with old-school thread and zeal, not tacky or necessarily stale for the body of work it presents.

The oh so fashionable disco muse, not out of style but lush with twinkly elegance, pink, purple and blue club lights dancing across black leather shoes and sparkling blazers on the dancefloor merging with all these colors into an endless/active night of hype and boogie. Sonically rich, submerged funk where it feels all so worthwhile. Just as it sounds, “Retro Planet”, is a world in itself, a chic and trendy sensational splice of life, but overall, it provides listeners another flaming and nostalgic bump in the night, upkeep to that vibrant disco fever sound that never gets tiring.

Lullaby

Nothing short of a sweet and engaging track here, like a past that never was or a future that never arrived. You can’t help but enjoy the energy the song brings where perhaps all that is missing is a bit of Saxophone or something, but it’s pretty topnotch stuff. There is a little funkier edge to this dance hall nugget as conga percussion, exciting synth chords, and stylistic guitar hooks exert much fruition creating a beautifully uplifting piece of art.

This is accomplished surprisingly well while swinging the old-school 70s and 80s pendulum of disco but all so wrapped in that modernized production of dance, and no obnoxious sidechain which is always refreshing in terms of quality, great rhythm shining through, not too slow, not too fast, but interesting, breakdance-worthy and easy on the ears. Bassy dynamics pop out and feel a lot fatter, swirling synth layers add color and warmth during the chorus structure, not to mention poppy little guitar bits sounding super fresh. Extremely chipper, dance hall-hungry, not sleepy or so much wistful but high energy, all-night party vibe, pushing the funk machine to the limit and not hitting the brakes any time soon.

The Other Side

In that retro realm, woven electronics, funky slices, and sections, apparent 80s synths make up for something incredibly catchy here. While maybe this one wouldn’t pose ideal as a wrestling theme song, or something to bring in a late-night talk show, it lends itself, soft synth-pop infused, funk-licious, essential dance with an optimistic punch that could almost fit well in Midway’s Cruis’n USA arcade game among others perhaps for that suave cruising down the road vibe, pretty consistent and signature in its inception.

There is an outpour of pure happy vibes coming from this track but while it wouldn’t be a totally fair assessment to say it is one dimensional, its colorful eccentricity, rudimentary composition, even though it feels a little limited, doesn’t let you down, and again this landscape really allows for the instruments to shine bright. It’s very lush, beautiful, dance-powered, pastel and groovy, piano keys hallmark a “Crystal Waters – Gypsy Woman” early 90s dance motion quality, maybe not as up-tempo as “Stardust – Music Sounds Better With You”, but there are mini similarities, a kind of hot disco infusion between these little ditties that I think would nicely go toe to toe with one another in a lot of respects.

Today

This is a real classic and uplifting sound that you will just have to listen to yourself, a fresh gem you will undoubtedly be calling a personal favorite in no time. Hands down one of the best of the disco batch, it’s flavorful, it kicks, it holds on and doesn’t let go and grooves along with an immaculate rhythm, intricate bass tones, glittery guitar bits, relative funk styles, super catchy & melodious hooks, well-executed, painfully snazzy, dancey, up close and personal.

Beautiful octave drops and note variation, an integral part of this retro dance train that is taking listeners on a journey. Synth portions come in very apparent, swelling, nostalgic and magical. It feels it could soundtrack many different scenarios, has an all-inclusive voice to it, diverse and structurally satisfying for the lack of vocals, nothing melodramatic or gimmicky just straight to the point. You’ll definitely be playing it again. It’s nothing short of fantastic!

Upside Down

New Wave-like bass lines paint a unique picture, yet a familiar one. Cool vibe, open space, old town boogie nights vibe, nothing comes as a big shock and there’s a pleasant mellowness to it. While it may not be neighboring a post-punk fusion, it could spill over nicely to a lot of styles of music, especially rock and reggae.

Very funk-driven, loyal to its disco charge, and the old-school vibes inherit a radio charm about it, that can be appreciated by many but perhaps particularly it aims to those latch-key kids who grew up while discotheques and arcades were still a thing in our culture, kids who were once left to occupy themselves unattended for long stretches of time, expected to help out around the house. The Afro-American percussive specimens stand out like a true 80s hit song, alongside a juicy bass tone that dances through the whole thing, shiny and sobering. The bass steals the show and has a lot more spotlight on it, but this ultimately makes for a fantastic tune. Quite enjoyable!

Make It Hot

This song certainly lives up to its name. “Make It Hot” opens with body throbbing stabs, before dropping into a deep synth that takes control of the hips and is impossible to resist. A sharp beat paired with a loose flowing melody that twists and turns unpredictably makes this song incredible to dance to, whether you’re solo, with a lucky partner, or surrounded by a crowd. Use of the pad synth and tremolo build a pleasant tension and add aural interest. A gentle fade out at the end helps round things up without being obtrusive to the listener.

“Make It Hot” brings the energy and the heat, resulting in an irresistible piece of dance music that will have bodies shaking. This is definitely not background music, not in the slightest. Overall, this is a pretty sexy song that is definitely suited to situations where it can command an audiences’ full attention.

Bump and Grind

With its heart pounding base and crisp staccato stabs, “Bump and Grind” is a quintessential EDM song. It is the perfect song for the nightclub or a rave, with a beat that captures the listener and resonates through their chest. Paired with a fast tempo, this song is as invigorating as a shot of caffeine straight to the bloodstream.

“Bump and Grind” is deceptively simple, providing a predictable pattern of beats and a simple range of notes. The beauty of it lies in its expert use of unexpected syncopated rhythms, which add a freshness to the sound and keeps the listener on their toes. It also has the benefit of being a piece of royalty free music, which means DJs can play around with it as much as they like, adding their own creativity to the mix. “Bump and Grind” also has a good array of tense build-ups and beat drops to keep the heart pumping and the body moving. Overall, a satisfying and energetic song to inspire movement in the listener.

Fire in My Soul

“Fire in My Soul” feels unique in that it introduces the melody first, a winding series of melancholic chords, before introducing the beat. When the beat does drop, it is incredibly satisfying for the listener after waiting for it to appear. The beats move hard and fast, punctuating the mournful melody with power stabs and heart pounding base. The song builds and drops and builds and drops and builds again, taking the listener on an aural journey that captures the mind and the body. It is difficult to listen to this song without at least tapping your foot to the beat.

Despite the melancholic melody, this piece is no downer. Extremely fun to dance to, “Fire in My Soul” gets the blood pumping and the hips moving. Add some lights and a crowd, and you have something truly spectacular. You can easily imagine it in a nightclub situation.

Old Friend

“Old Friend” brings the classic EDM feeling, with a couple of its own special touches. A steady and heavy beat is paired with a synth that almost sounds like brass. Add in a couple unpredictable stops, clapping, and a heart pounding buildup, and you have a satisfying song with tons of dynamism and flair. It is recognizable without being boring or cliché, and keeps things from getting too repetitive with a variety of clever add ins.

Definitely a more typical club song, this piece is perfect to dance to, whether at home alone or at a rave party. No matter where you are, you just can’t help but move your body to this beat. “Old Friend” lives up to its name by being familiar, comforting, and loads of fun.

Find You

“Find You” starts out with a slow, haunting melody, similar to what you might expect to hear in a horror movie. However, a hyped-up synth soon joins the party, completely transforming the direction of the piece. It goes from melancholic to nearly frantic with energy. Add in some sharp stabs, and the EDM nature of the song becomes clear. Heavy use of the pad synth keeps the tension high, while a nice hard beat keeps things centered.

While “Find You” definitely brings the energy and excitement people want from club music, it also adds a touch of agitation. This makes it work in situations where you want the listener to be filled with a sense of mystery or get them feeling a bit of strain. Sometimes slightly unpleasant feelings can increase the enjoyment of a piece and get people to release their inhibitions quickly.

Superficial Love

Opening with a slowly building bass line, “Superficial Love” creates a soundscape that is tense and dizzying. It is reminiscent to the kind of music you would expect to hear in a futuristic alien movie. As the piece builds, a sound like that of an emergency vehicle siren punctuates the song, adding to the feeling of tension. Something is about to happen, but what? There’s no predicting, so the only thing left to do is dance. “Superficial Love” is a great example of how putting the listener on edge can often lead to a better musical experience.

Multiple times throughout the song, the music stops completely before starting up again. Each time it gives the impression of a new song, a touch that does interrupt dance flow, but is very enjoyable to listen to. “Superficial Love” is a musically interesting song with unique composition, making it something you can listen to again and again.

Scrub the Ground

Unexpected and unique, “Scrub the Ground” subverts expectations while still delivering an exciting and energetic piece of music. Opening with keyboard and vocal-like synth, this song changes directions in so many interesting ways. The first is the transition from the opening to the rest of the song, which involves the addition of multiple synths, a new beat, and tons of ripping bass. The sounds from the opening return multiple times as a cyclical motif, devolving again and again into something new. Each time the song builds and drops, the listener builds and releases tension with it, resulting in a feeling of satisfaction and relief.

While perhaps not a perfect dancing song, “Scrub the Ground” has an addictive beat and makes for easy listening. Considering that it’s royalty free music, the layers this song provides are impressive. You could definitely dance to it if you wanted, but either way this song brings unmatched energy and the promise of a good time.

Backdrops

Opening with a sound not unlike wind chimes, “Backdrops” is a surprisingly relaxed piece of music, dominated by synths that almost sound human. These “voices” call out in turn, weaving together to create a soothing melody, all the while accompanied by the echoing wind chime-like synth. Under it all, a steady beat comes through, reminiscent of the regular beating of a heart.

Although it is very much a contemporary song, there is something familiar and calming about it. It lacks the harshness typically associated with modern music, instead taking on a flowing, ephemeral state. Though it would be out of place at a party, “Backdrops” invokes a feeling of nostalgia in the listener, calling to mind the feelings of a warm summer night spent driving around with friends. This piece can be used as background music for situations that require a touch of dreamy wistfulness while still maintaining modernity, or for easy listening when you want to relax.

Stack Overflow

With its simple melody and airy synth, “Stack Overflow” makes you feel like you’re melting or floating in space. It opens with a floating tremolo before quickly dissolving into a repetitive melody. The repetition is comforting, a simple arrangement of notes backed by a hip, syncopated beat and lots of reverb. Every once in a while, the floating tremolo from the intro will reintroduce itself, adding an element of interest to the piece.

While not a song you will find yourself dancing to, “Stack Overflow” gives a sense of peace to the listener, grounding them in its steady flow and predictable pacing. Focus on it hard enough, and you might even feel the sensation of your body slowly starting to dissolve while you stand in place. It is a perfect song to unwind to.

Walk Away

A slow build up in the intro of this song leads to a gratifying release when the song finally hits its peak. Floating synth dissolves into rapid stabs that hit the listener hard in the chest, causing pulses to raise and bodies to move. Each buildup, drop, and breakdown feels unique in its own way, thanks to small twists that differentiate it from the others. This helps keep things from sounding too repetitive.

Granted, “Walk Away” isn’t necessarily a typical dancing song either. It twists a lot, which can make it difficult for the dance to predict what’s going to happen next, and it does slow down in parts, leading to a shift in energy that might not work for most people in a dancing situation. That being said, this is still an excellent piece to listen to, and it brings its own unique energy to the mix.

Dead End

Opening with a riotous, clamoring riff, “Dead End” shows off the edgier side of heavy metal. This song takes control of the heartbeat right away, resonating through the chest cavity like an explosion. It’s electric and dynamic, the kind of song that encourages headbanging, while also creating an eerie, tense feeling that builds up in the listener as the song goes on.

Like lightning in the veins, “Dead End” can make the listener feel static racing through them. It is charged. Liberal use of synth, syncopated riffs, and rapid changes in speed make “Dead End” a piece that keeps the listener alert and on their toes. While not the most hardcore heavy metal song to ever exist, “Dead End” is an enjoyably chaotic song that hits all the right notes.

Witchcraft

Mystical and a bit bizarre, “Witchcraft” subverts some expectations while still delivering the energetic, chaotic sound people want from heavy metal. Extremely harsh and aggressive drums dominate this song, nearly drowning out everything else with their intensity. The guitars still manage to hold their own, riffing with ease as the percussion changes direction unexpectedly, doing bizarre syncopations and racing wildly through the music. The bass also makes a good impression, holding together the other elements of the piece with its steady melody.

Overall, “Witchcraft” is an incredibly powerful piece. Elements that don’t sound like they should work together are expertly blended into something wonderful. The creative rhythms created by the drums make this song a particular treat for percussion fans. It doesn’t sound like royalty free music at all.

Motorbike

“Motorbike” doesn’t hold its punches. Frantic and strong, it perfectly captures the feeling of zooming around on a motorcycle. While the song is relentless in terms of volume and speed, there is an interesting twist. A series of descending arpeggios is a repetitive motif that offers a respite from the frenzied rush of drums and guitar in the rest of the song. With that in place, the harshness of the rest of the song never becomes too overwhelming and the song is saved from being too repetitive. “Motorbike” is a great song for people who love fast paced music with some real dirty bass.

Kill Switch

“Kill Switch” goes off like a bomb. Opening with heavy, heart pounding drums, this is a song that doesn’t let the energy drop. With a rapid tempo, aggressive riffs, and powerful bass, it will be hard to stop from moving. While volatile and aggressive, this piece still manages to feel accessible, reminiscent of other heavy metal songs from the early days of metal, in the late 60s/early 70s. It feels familiar, even if you’ve never listened to it before.

“Kill Switch” can definitely seem a bit repetitive. After all, there is very little change in terms of volume or tempo. That being said, there is enough variety in terms of guitar riffs and licks to keep things exciting, and the raging feeling of the song as a whole engulfs the mind as you listen. Overall, it’s a nice, easy heavy metal song that you can enjoy even if you’re not familiar with the genre.

Progressive Threat

“Progressive Threat” is slower than most at 134bpm, but do not underestimate it. This song packs a punch of its own, with a great cyclical riff and resonating bass. The harshness of the sound is enjoyable, lots of rough chords and harsh drums. The entire song ends as suddenly and unexpectedly as it began, the music stopping out of nowhere and plunging the listener into silence.

An example of a good kind of repetitiveness, this piece leans into what makes it good and isn’t afraid to do more of the same thing to get a particular effect. The fact that it’s only a little over three minutes long allows it to get away with more reiteration than a longer song could, and “Progressive Threat” uses this knowledge in its favor. Like all great royalty free music, it is derivativeness at its best, combining many familiar sounds and twisting it to create new music.

Light the Candles

With a slower tempo than most might expect, “Light the Candles” brings an old school intensity to the table. Strong drums and bass are accentuated with a melancholic sounding guitar. Minor chords and riffs give this song a feeling of sadness, balanced out by the sheer boldness of the drums. A cyclical speed shift keeps things interesting as well, adding a shot of energy into the slower pace of the rest of the song.

“Light the Candles” may not be as frantic as some other heavy metal songs, but it still captures the energy and intensity that people want to hear. The slower pace creates a melancholic mood, while providing room for changes in beat, a tactic that allows the musicians to temporarily change the feeling of the piece. Overall, “Light the Candles” is a solid heavy metal song.

Death Valley

While most people think of heavy metal as a term exclusively for fast, aggressive music, there are plenty of great slower tempo songs that fall into that category. “Death Valley” shows that heavy metal doesn’t have to be frantic, with a more relaxed flow. Although by no means slow, this song isn’t concerned with fitting as many notes as possible into a bar, going instead for a nearly country feel, suitable for a song titled “Death Valley”.

It’s thoughtfully spaced out melody, restrained riffs, and crashing drums make for an intense, yet untroubled vibe. “Death Valley” is a piece that isn’t stressed about impressing anyone. While undoubtedly a heavy metal song, the country elements, including a very sick reoccurring riff, would make this a good choice as background music for any Wild West fight scenes. Overall, a great listen, and definitely a unique choice in the realm of heavy metal.

Dirty Deeds

Frantic and grimy, “Dirty Deeds” lives up to its name. Starting right off the bat with a dizzying guitar riff and heart pounding drums, this piece is relentless. Speeding along at 187bpm, this isn’t the kind of song you can mellow out to in the slightest. The drummer sets a brutal pace, varying the rhythms with precision and undeniably dominating the piece. Guitar and bass cannot be ignored either, cleverly weaving around the drums and accentuating the viciousness of the percussion.

The carefully crafted dissonance of the instruments lends a unique tension, causing a pleasant strain to build up in the listener. Muscles tense unconsciously, ready to move. A total headbanger, “Dirty Deeds” is the kind of song you could imagine listening to while speeding down empty roads at night or in a mass of sweaty bodies moving in unison under the lights.

Skull Crusher

Although no heads were hurt in the making or listening of this song, “Skull Crusher” puts in its best effort into making your head explode. Fierce and sharp drums ricochet along this piece, with incredibly chaotic guitar barely seeming to hold things together. The song sounds one small mistake away from falling apart, but that mistake never arrives. Instead, “Skull Crusher” succeeds with both its punishing pace and rebellious rhythm combinations.

The instruments switch between matching each other and colliding against each other in the best way. The ending of the song is also quite satisfying, with a nice ending chord to tie everything together. Overall, the fierce riffs and wild drumming make this piece particularly enjoyable, something that can be listened to again and again without tiring from it.

Bloodlust

A speedy tempo, boisterous percussion, and harsh guitar come together to form “Bloodlust”, a classic heavy metal song that satisfies any listener in the mood for something fast and rough. The percussion never lets up, maintaining a steady and rapid pace. The rhythm isn’t the most dramatic, but it’s comforting in its familiarity, and the speed of it is extremely welcome. Bass makes its mark as well, reverberating in the chest and providing a solid backdrop for the wildly careening guitar that riffs and slides on top of it all.

Overall, “Bloodlust” meets all the expectations for a classic piece of heavy metal music. While it doesn’t reinvent the genre, it’s a solid song with great riffs and a powerful beat that still manages to be interesting and is enjoyable even after the 10th listen.

Hustler

A good example of “gangsta rap”, “Hustler” is a song about making it big and getting whatever you want. The song opens with beatboxing and sharp percussion. Aggressive vocalizations jump in, setting the tone for the rest of the piece. The main lyrics of “Hustler” are “I do my thing, don’t give a damn what the haters say”, explicitly stating the carefree attitude of the rappers and their ability to ignore the naysayers. A shrill synth winds under the track to give extra layers to the piece, with rhythmic snapping filling in the gaps when the rapping stops.

The rapper also says “I’m a hustler, grinder, thug and a bowler. I can get you anything you want or desire”, showcasing how they work hard and get money. Bowler is another way of saying “baller”, a word that describes someone who makes it to the top thanks to their ability to make money from others (hustling) and their hard work (grinding). Overall, “Hustler” gives a concise image of a thug who has made it big and can now do whatever they want, without having to listen to their critics. It is an enjoyable song to listen to as you get out and achieve your own hustle.

Damn Hot 2

With hip hop, there are two main topics of interest: making money, and beautiful women. “Damn Hot 2” focus on the latter, all about hot girls shaking what their momma gave them. The song opens with a deep male voice catcalling one of two lyrical lines, “Damn, you hot”.

A heavily electronic track is dominated by synth, heavily and heavily reverberating percussion. The track feels fresh and modern, adding a bit of interest to a piece that is lyrically cliché. The rap is performed by a group, focusing mostly on vocalizations and ad-libs. Periodically, a voice will rise above the rest to encourage the female listeners to “Shake your ass girl, show me what you got”. The song concludes with one last drawling “Damn”, a satisfying end to a surprisingly layered song.

Get Up and Bounce

A syncopated beat, sharp, rhythmic synth, and aggressive vocalizations open “Get Up and Bounce”, another song encouraging the ladies to shake what their momma gave them. The lyrics get straight to the point, urging the listener to “Get down and move that (bounce)”.

Despite the simple lyrics, the backing track keeps things from becoming repetitive. Excellent use of synth helps keeps things fresh, while adding a touch of funk. “Get Up and Bounce” may not be a typical club song, but it can definitely get bodies moving. Overall, a great song to shake your booty to, if you’re into that kind of thing, or for getting someone else to shake it.

Money in My Trunk

While hip hop can be very upbeat, there are also songs that use a more melancholic sound to their advantage. “Money in My Trunk” opens with a slow, purposeful beat. Another beat is layered on top, the syncopated rhythm deepening the sound. Next comes the ominous synth, which plays two entwining broken chords. A feeling of tension envelops the listener before the first lyric is even spoken. The deep voiced rapper uses two lines to great effect. “Sitting on chrome, cruising down the streets. Money in my trunk, gold on my teeth.”

Paired with the backing track, these lyrics give off a frightening vibe. The listener can’t help but wonder, where did the money come from? From the sinister tone of the track, one can only imagine it wasn’t through legal means. Definitely not a club track, “Money in My Trunk” captures the darker side of thug life with a dark track and lyrics that offer plenty of room for the listener to let their mind wander.

Hifi

This song starts out strong, with a funky voice calling out “It’s hifi time” before the track launches into a complex whirl of echoing beats, electric keyboard, and synth. The backing track takes on an almost alien sound, winding its way around the lyrics like a wailing electronic ghost.

The vocalizations themselves are also bizarre, the main rapper taking on a rough, unpredictable character voice as he commands “Work it hifi and show me what you work it with”. A feeling of tension permeates the entire song, intensified by the constant vocalizations and ad-libbing of the other performers. While there is nothing sinister about the lyrics themselves, you will definitely feel your heart beating a bit faster thanks to the weird voices used.

Money on My Mind

“Crunking, we clowning, clowning and crunking, crunking and clowning” are the opening lyrics of “Money on My Mind”. These opening lyrics give the impression of a man who is a partier and a player, someone who doesn’t take life too seriously. This is contrasted by later lyrics, which state “Still balling, I’m heavy on my grind, I got money, money on mind”, showing that the rapper is still focused on making money and working hard.

The vocals are heavily edited, causing the voice to sound fuzzy with static, making it very difficult to understand. Luckily, this is one of those songs where understanding the lyrics is not necessary to enjoy it. A hearty beat and intense synth pairs well with the electric vocals, creating an enjoyable piece. “Money on My Mind” manages to get the message across regardless of whether you understand the lyrics.

Beach Dreaming

Fast paced and energetic, “Beach Dreaming” brings to mind a spring break spent somewhere warm and sunny. On top of the peppy beat, multiple high-pitched and bright synths flesh out the track. There are no vocals, with interest being added with the addition of vocal-like synths, which “sing” gibberish melodies and ad-libs over the rest of the music.

The lack of lyrics makes “Beach Dreaming” feel more like a “lite” version of hip hop, a song that feels closer to what people might expect from pop music. That being said, it is still an enjoyable song, and the lack of lyrics allows for people to create their own vocal tracks for the song, a popular feature of royalty free music. On its own, “Beach Dreaming” is a pleasant, cheerful song that takes the listener to a warmer, happier place.

In Da Club

A haunting synth winds up and down in the introduction to “In Da Club”. To be quite honest, this isn’t the kind of song you’ll find people dancing to in the club. It’s a bit too slow to properly move to, although it is still a dynamic piece. Rather it highlights the journey of going on a night out. The rapper talks about “Booming to the club in my brown-white Chevy”, while a trippy synth weaves its way around the track in the background.

Although there aren’t many more lyrics to go off of, “booming” could be referring to the act of taking hallucinogenic drugs, which would explain the interesting choice of synth. While undeniably repetitive, “In Da Club” hit all the notes you would expect from a hip-hop song, making it a solid piece that can be enjoyed even by people who don’t know much about hip hop music.

Scheming

Siren-like synth opens up “Scheming”, creating a tense atmosphere. A rousing drumroll introduces the vocals. The voices sound unhurried and relaxed, but there is an intensity to them that can’t be denied. The lyrics “Up in the club, we scheming. Up in the club, we sipping, sipping. Let me see you sweat, let’s see you serve, make it hurt” are revisited multiple times over the course of the track, with variations mixed in to keep it interesting.

Rather than conveying the feeling of a regular nightclub, these lyrics call to mind a more VIP setting, where men of means go to relax and strategize their next moves. The rappers are showing off that they have made it. They have the money to be able to drink quality alcohol and have beautiful women wait on them. “Scheming” is a song about current success, and the desire to get even bigger. Overall “Scheming” is a higher level of “gangsta rap”, and a good aspirational piece for people trying to make it big.

Crunk

Crunk is a popular style of hip hop music in the Southern States, and the song “Crunk” lives up to its roots. The song doesn’t pull any punches, jumping into the vocals right away. While some hip-hop songs have one rapper rapping at a time, “Crunk” uses a group of artists rapping at the same time. The main rap line is “You want some hard shit, holla at your boys”, highlighting the importance of male friendship in a lot of hip hop music. Whether related to gang culture or not, many rappers have a tight-knit squad of male friends that they were extremely loyal to.

This is alluded to again with the repetitive use of animalistic sounds, in this case having the men bark like dogs. As many know, “dog” is a slang term for a close friend. Music wise, there is an exotic touch to the track. Winding synths dominate, giving a vaguely middle eastern sound. A syncopated rhythm also adds to this foreign sound, creating an aurally complex song that brings this track a cut above what most people would expect from royalty free music. Overall, “Crunk” gives a good classic hip hop sound, with a nice twist that keeps it feeling fresh and not overly derivative.

City Jams

“City Jams” is a more traditional, old-school piece of jazz music. Jazz lovers will recognize the double bass riff as being very close to being a cliché, but it has just enough uniqueness in note choice to avoid this. The melody is brass-heavy, adding weight to the sound. A synth plays off the brass, doing a bit of callback by repeating the rhythms the brass set in place. While this does create a repetitive tune, this is not unwelcome is the genre of jazz. In fact, the repetitiveness allows the listener to freely explore the layers created by all the different instruments without worrying about missing something else.

This blend of old and new is what makes “City Jams” so enjoyable to listen to. The synth keeps things modern, while the familiarity of the rhythm gives a comfortable nostalgic feeling. It makes you want to move your body. Overall, this fresh piece will delight jazz lovers and newbies alike.

Can’t Stop

“Can’t Stop” lives up to its name with an infectious beat and clever use of repetition. The song opens with a punch. Double bass dominates the track, providing the main melody as well as the main rhythm. Its syncopated beat and low, rich sound create a perfect backdrop for the rest of the instruments. The sound is accented with piano and a cymbal heavy drum set. Electric guitar makes a low-key appearance, just barely audible over the rest of the instruments. It mostly plays support to the rhythm set by the double bass. On top of it all, midway through the song a groovy synth comes in and graces the track with multiple flowing melodies.

Despite having so many different elements, “Can’t Stop” never feels cluttered. Instead, the different rhythms blend harmoniously to create a rich and varied sound. There is always something new for the listener to notice, making this the kind of song that gets better the more you listen to it. Overall, “Can’t Stop” is a feel-good song that invites the listener to move their body to the beat.

Restless Love

“Restless Love” starts out slow, but builds into something great. It opens with double bass playing a classic jazz rhythm, and a rhythmic guitar melody. Soon drums join in, with plenty of brassy cymbals. Piano jumps in as well, playing a near-identical simple melody to the guitar. Luckily, to keep things from getting monotonous, the piano eventually gets more room to shine in this piece and gets to play around more freely. The classic sounds are disrupted by a synth, comes in to brighten up the melody line with its dynamic sound. Saxophone joins in tandem, and together they play the same smooth melody.

In “Restless Love” the layers of sound accumulate, turning a simple song into something more interesting. Despite the slow start, this piece transforms into something rich and multi-faceted. Overall, this piece is a great example that you do not require a complicated melody or frantic rhythm to create a rich, layered, and interesting sound.

City Line

Leaning more towards classic jazz, but with a solid twist, “City Line” captures the charm of jazz without bending to conventions. A double bass line, piano, and cymbal heavy percussion create a very traditional base for this song. They are offset by synth, which carries the melody for the beginning of the song. The melody dances up and down the scale, going from high notes to low notes and back up again. This jumpy melody is mellowed out once saxophone joins in. Although the saxophone carries the same melody as the synth, the power and smoothness of its sound transform the feeling of the piece, fleshing it out.

Overall, “City Line” is a very slow and mellow song that takes its time. Even the ending is leisurely, thanks to a good amount of buildup before the final chord. With its classic jazz elements and use of synth, it provides a great blend of classic with modern, making it enjoyable even for people who’ve never listened to jazz before.

Eyes

“Eyes” is a great example of mellow, cafe-style jazz. Although it opens with a strong drum riff, the song quickly mellows out. Double bass and soft, rhythmic cymbals maintain the beat, while guitar and piano bounce off each other to create a playful melody. A peppy synth joins in near the end, adding some extra freshness to the piece.

This piece has a dreamy quality to it. It gives off a relaxed feeling like a summer day spent having a picnic at the park, or a spring morning sipping café-au-lait on a European patio. It can be easily used as background audio, and, thanks to it being royalty free music, it can easily be looped on itself to prolong the length of the piece. Overall, “Eyes” is an excellent understated jazz song that even people who don’t usually like jazz can enjoy.

Take it Easy

With its slow tempo, “Take it Easy” lives up to the name. This song is the definition of the word “mellow”. Subtle drums and cymbals form the percussive line, almost impossible to hear double bass. Still, you would notice if they weren’t there. Synth and flute take control of melody, an unusual combination, especially in jazz music. They bounce off each other, playing different, but compatible, rhythms.

“Take it Easy” has a unique sound, the very quiet presence of double bass and syncopated rhythm being the two things that keep this feeling like a jazz piece at all. Overall, it is a very pleasant and peaceful song, but perhaps not the go-to piece for big jazz fans.

Life is King

Despite its energetic introduction, “Life is King” takes its time. With a very slow tempo at 80 bpm, this song is in no hurry to get anywhere. Leisurely and sensual, it feels like a song for a quiet morning spent lounging in bed, or a song for dancing pressed right against someone else. Breathy saxophone is the star of the piece, winding a luscious melody over everything else. It is accented by a keyboard, which plays its own gentle melody, soft drums, and delicate electric guitar. The guitar gets some very understated solos. It is made clear that the main point of interest is the saxophone.

With its languid pace and lush melody, “Life is King” conveys, without words, the importance of slowing down and enjoying the finer things in life. Unlike some other royalty free music pieces, “Life is King” feels like a complete song, not just a snippet designed to be looped on itself. An excellent choice for a romantic dinner for two, or a leisurely dinner party, this song creates the perfect headspace for letting go of the humdrum worries of life and simply enjoying the passage of time.

Soul Survivor

“Soul Survivor” is an unusual jazz piece. The song is dominated by a flute and unique instrument in the realm of jazz. The flute carries the melody on its own, floating over the rest of the instruments with its distinct high notes. The supporting instruments are double bass, syncopated percussion, and a rhythmic piano. Plenty of cymbals can also be heard, ringing out frequently. There’s a fun contrast between these sharp drums and the airy, floaty feeling of the flute. The result is a layered, very fresh piece that is a joy to listen to.

Overall, “Soul Survivor” is a carefree and playful piece of music. It is a unique piece of jazz music, that blends some elements of other genres, such as Latin music, to create an entirely new sound. Not to mention that beyond the great composition of the music, it’s hard not to enjoy a song with such a clever pun in the name.

Void Vision

“Void Vision” packs a subtle punch. The upbeat melody and layered composition are tempered by the restraint each instrument shows. Nothing is too loud, and dynamics are used sparingly. Piano and brass are the two main rhythm setters, with drums come in later. Synth and saxophone carry the melody, a usual pairing that works very well in this instance. The saxophone’s deep sound adds depth, while the wavering synth provides an interesting element to the piece. Together, they create a well-rounded, legato melody that contrasts pleasantly with the sharpness of the beat.

“Void Vision” is a delightful modern jazz piece that tastefully uses technology, while still respecting the traditional elements that make jazz so great.

Over Here

“Over Here” opens with a strong beat and funky syncopated synth. This synth carries the melody, while double bass and cymbal heavy percussion hold things together underneath. The double bass plays a pretty traditional rhythm that helps to keep this song feeling like jazz. The electric guitar shows up as well, playing the second mate to the synth. While it mainly is delegated to assisting with keeping rhythm, it does get a few opportunities to play around. Piano gets thrown into the mix as well, adding yet another layer to this complex piece.

Although “Over Here” is by no means a conventional jazz song, the double bass did help keep things genre-appropriate. However, the uniqueness of the song is a strong suit. The multiple layers of instruments provide so much aural interest, while the synth adds a modern peppiness that could not have been achieved with a traditional instrument. Overall, while it pushes the limits of what can be considered jazz music, “Over Here” is an incredibly enjoyable piece that warrants more than one listen.

Chove Chuva

“Chove Chuva” opens with an energetic guitar and peppy vocals. Reminiscent of falling rain, the beat is syncopated and gentle, almost disappearing under the guitar and vocals. A soothing woodwind joins in occasionally, adding another level of peacefulness to the piece. Despite the simple melody, this cheerful song captures the attention and the heart of the listener, transporting them to a place that is cozy and safe.

The bold guitar and vocals are tempered by the soft beat and floaty woodwinds, creating a well balanced song that perfectly captures the feeling of being warm and dry in the middle of a storm. Overall, “Chove Chuva” is a great piece to have in the background while cooking, spending time with friends and family, or relaxing at home.

Mas Que Nada

The singing is definitely the focus of “Mas Que Nada”. An intro of soft drumming and barely-there bass quickly transitions to powerful vocals. They dominate the soundtrack, rising above the percussion and rhythmic guitar. The addition of small percussion instruments also adds to the depth of this piece. The vocals alternate between a staccato rhythm, and a more fluid, winding sound, creating a layered and interesting sound. These changes between staccato and legato compliment and contrast in turn with the percussive guitar and the floaty, winding woodwinds.

“Mas Que Nada” is a sunny, almost jazzy piece, perfect for listening to when you want to brighten up your mood. The best part is it can easily be looped, meaning you can keep this song going for as long as you like. Overall, it’s an uncomplicated, unfussy piece that delivers the right amount of energy and complexity.

Flower Bouquet

A syncopated rhythm adds flair to a simple guitar melody in “Flower Bouquet”. An easygoing and cheerful song, this piece focuses heavily on a variety of percussion instruments. A drum set is used with a light hand, and a pair of wooden rhythm sticks also seem to make an appearance, their pleasant clacking rising above the rest of the music. Layered on are the occasional woodwind and a deep male voice that vocalizes beautifully.

The use of multiple percussive instruments and strong vocals keep “Flower Bouquet” feeling fresh. It’s a great piece when you want something to blend into the background and not call too much attention to itself.

Luzes da Cidade

“Luzes da Cidade” does not hold back with the energy. This piece has an urban feel with a fast pace and strong syncopated rhythm, but it keeps from feeling too aggressive thanks to a cheerful woodwinds and gentle vocals. The city “Luzes da Cidade” calls to mind isn’t the kind of city where people rush and stress, but rather a coastal city where the attitude is relaxed and people can enjoy themselves long into the night.

The track is minimalist and unfussy, but still full of warmth and character. Although the drums, guitar, woodwinds, and vocals are all strong, they each have their moments to shine, and never feel like they are competing. Another great options for non-intrusive music, “Luzes da Cidade”‘s more energetic pace would make it well suited to play in the background at a cocktail party, or when having people over for dinner. It is the kind of song that encourages relaxation and good conversation.

Mojitos

Listen to “Mojitos” and you’ll be transported to a place where all you have to do is lie in the sun and sip the frosty glass in your hand. The kind of music you might hear at a beach resort, “Mojitos” is a breezy song with lots of light flute and soft guitar. The vocals are leisurely, complementing the flute without overpowering it. A rapid beat and a touch of cymbal adds just the right amount of edginess to keep things interesting to listen to, while being quiet enough to maintain the peacefulness of the song.

Thanks to this restraint, no one element stands out too much in this piece, resulting in a very cohesive and smooth song that flows through your ears like water. This is the kind of song that doesn’t require focus or thought to enjoy, making “Mojitos” a wonderful song to play when you want to relax and just let go.

Love Vibes

With a sultry beat and longing woodwinds, “Love Vibes” captures the feeling of being in love and missing the person when they’re not next to you. The slight melancholy of the song is supported by a slower tempo and legato singing. The yearning voices sing out over the music, blending with those lovely woodwinds. The woodwinds follow the same melody as the vocals, but the differing quality of the sound makes it feel like a lovely accent, instead of a boring copy.

While it lacks the fiery passion of say, salsa music, this Latin piece manages to feel exotic in all the right ways. The beat has the syncopation you expect from Latin music, and the woodwinds aren’t like anything you typically find in Western music. The ending is pleasant as well, a gentle cymbal rounding out the song nicely. If you want something romantic but understated, this song is a great choice. “Love Vibes” captures the sound of summer love, fragile but full of hope.

Montanha

Opening with gentle guitar and a faint keyboard, “Montanha” invites the listener to relax. This is the perfect background song, with no standout elements to this piece. The drums, guitar, and woodwinds blend together to create an easygoing, uniform melody. Vocals in this song add a touch of fun, while still maintaining the overall uniformity of the piece. They jump between notes rapidly, the rapid tempo making it sound like rushing water.

The ending is particularly satisfying, the guitars ending on pleasant sounding chords that don’t feel too sudden or out of place. Slightly hypnotic and with a touch of exotic, “Montanha” is a song that gets into your head before you realize it’s even there. As mentioned before, it would be great as background music when you want something discreet but enjoyable.

Seu Sorriso

The opening of “Seu Sorriso” is dreamy, a lone guitar singing out in the silence. This silence is soon accented with a very syncopated drum and cymbal, completely changing the energy of the song and taking it in a new direction. A peppy song with a simple melody, it perfectly captures the feeling of being young during the summertime, of being so free and full of life. The song is an uncomplicated and effective blend of rhythmic guitar, swaying vocals, and the occasional touch of woodwind. Sometimes the vocals will enter a tense harmony, the notes feeling too close together, which adds just enough tension for it to be refreshing.

As simple as “Seu Sorriso” is, it still manages to get the listener to smile. Overall, this piece would be great in a situation where the song can command a bit more attention. After all, the vocals are quite striking, and command the listener’s attention. “Seu Sorriso” is the kind of song that calls to mind happy memories, and for that reason alone it’s wonderful to listen to.

Praia

Lots of cymbal and a groovy bass introduce “Praia”, before melting into a floating blend of drums, vocals, guitar, and woodwind. “Praia” captures the feeling of a day at the beach, from the waves pounding rhythmically on the shore, to the soft, salty-kissed breeze blowing by. The slower tempo lends it the air of being a laid-back piece, even the vocalists seem to be taking their time.

However, while it may be a slower song, it is not boring. The drums are particularly nice, the cymbals from before also making an appearance, as well as maracas. They energize the song with their syncopated and varied beats. Overall, “Praia” is a great piece to play in the background on a road trip, a cozy dinner in, or, as the name suggests, at the beach. It’s sure to encourage relaxation and cheerfulness in the listener.

Samba Cubano

With its moody bass and drums, “Samba Cubano” gives off a grungier, sexier feeling, even as the piece adds peppy vocals and woodwinds. Samba is both a style of music and a style of dance that was developed in Brazil with considerable influence from Africa. In this piece, vocals dominated, the rapid tempo and quick changing of notes creating a dizzying melody that is echoed back on the woodwinds. The rhythm is kept using shakers and sharp drumming, as well as the moody bass from earlier, although it takes a backseat to everything else.

“Samba Cubano” is much gentler than some other mainstream samba songs, which often include a lot of brass or intense percussion. However, it does contain the samba rhythm, lending it the exotic flair people appreciate in samba. Overall, “Samba Cubano” is an enjoyable song to dance to if you are familiar with the dance style, or to listen to, especially on a warm summer night.

Duplicity

A strong, Rock ‘n’ Roll beat lends an edge to “Duplicity”, accented by the use of minor scales. This is a song with some bite to it, despite stylistically being a disco piece, a genre that most people associate with upbeat, happy tunes. Bongo drums add an exotic touch, while the electric guitar and synths play a melancholic, tense melody that keeps the listener on edge. Rumbling bass is barely noticeable under the guitar and drums, but makes a wonderful addition that can be felt more than heard.

More for listening than dancing “Duplicity” is a layered, emotionally charged piece. It manages to be tense and a little unnerving, while still holding on to the groove people expect from Nu Disco.

Fusion Eyes

“Fusion Eyes” starts of tense and hushed, as if there’s a secret it doesn’t want to reveal. The tone of the song is withdrawn, never seeming to reach the volume you would expect. A frantic beat, played by cymbals, simmers underneath multiple rhythmic loops and a quiet guitar that plays a simple, continuous melody. It’s this guitar that provides a bit of relief from the often frenzied synths, which quiet down every once in a while before ramping back up, a typical sequence of Nu Disco. In the quieter moment, floaty synths alternate between amping up the tension and offering a moment of relaxation. Either way, they inevitably give way again to the wild cacophony of the rest of the song.

This constant sensory overload can lead to some rapidly beating hearts, as the rhythm takes control. Overall ” Fusion Eyes” provides a unique tension that wouldn’t be out of place in a heist or spy themed movie. It is an interesting iteration of Nu Disco, and can be fun to listen to, if your heart is up for it.

Back Down

Electric guitar harmonizes with heavy synth to create a unique funky sound in “Back Down”. The synths are energetic, some sounding like string instruments, while others wail away like alien voices. These bizarre sounding synths add a distinctive sound over the simple electric guitar melody, transforming the song into something special. A strong drum groove, accentuated with bongos and percussive stabs, maintains a steady beat under the wild and oscillating melody. Although subtle, it’s the kind of beat that you can feel in your chest, a welcome source of stability and rhythm amidst the electronic cacophony of the rest of the piece.

Overall “Back Down” captures everything good about Nu Disco. It ramps up and down, keeping the listener engaged through creative use of synths and changes in rhythm. Upbeat and cheerful, with a touch of absurdity, this is the kind of song that makes you want to dance.

Starry Night

Deep bass starts out “Starry Night”, a funky beat reminiscent of old-school disco. The addition of keyboard and ad-lib female vocalizations strengthens this retro feel, as does the use of string-like synths. All these elements combine to create a new song that is a total throwback to original disco, without sounding like a copy of something that came before. Multiple synth breakdowns during the course of the piece allow for a strictly modern element to the song as well.

Overall, this song could work both in the club, or for easy listening. The one downside is that “Starry Night” ends faster than expected, but luckily, as with most royalty free music, it was designed to be easily looped, allowing for a longer run time. When a song is this fun, it warrants more than one listen.

Loverboy

Sunny and upbeat, “Loverboy” would fit right in at an 80s nightclub. The sultry bass gives this song an old-school sexy feel, which is perfect for a song with this kind of name. The melody of this song calls to mind original disco, with the use of reverb on the synths, and the introduction of a keyboard. This keyboard is the anchor of the piece, playing melodies that are echoed back using the synths.

A little tense, but with a consistent high energy, “Loverboy” is perfect dancing music. With its powerful beat, it’s a great song to encourage people to move their bodies and mingle with each other. The vintage sound may also make it popular with older audiences, who were around when disco was still popular in clubs around the world.

Back to You

“Back to You” opens with a punch, the sound of string instrument-like synths melding with a deep, rumbling bass. The tempo is rapid, the beats hitting in quick succession. The synths switch between sounding like strings, to sounding like brass instruments. Other times a high, floaty synth will accentuate the piece with a glissando, sliding up and down in a haunting, almost melancholic way. That being said, there’s nothing sad about this piece. In fact, there’s something about this song, perhaps the rhythmic thumping of the bass, that makes this song feel sexy. It resonates low in the belly, near the pelvis.

The creative melding of electronic elements with real instruments, especially that bass, makes “Back to You” an irresistible piece of dance music. The high energy and strong rhythm of the piece make it perfect club music, even for people who might not be familiar with Nu Disco. It’s the kind of song that can be enjoyed by anyone.

Stop Your Life

A song that is at once melancholic and frenzied, “Stop Your Life” is a uniquely composed Nu Disco song. Starting out with powerful beat and a string-like synth playing a minor scale, the sadness of the piece is intensified using a keyboard and several synths with powerful reverb. At some points the music will fade away almost completely, only the quiet bass and a wildly oscillating synth wailing away like the echo of a shout.

The end result is a song that sounds like a cry for help, deeply unnerving, but excellent to listen to. It can be used in situations that call for the building of tension or feelings of desperation and sadness. “Stop Your Life” is definitely not party music, but it warrants a listen.

Sunshine Love

“Sunshine Love” lives up to its name, giving off the feeling of a carefree summer day. A strong, very funk bass guitar starts things off, freshened up with the addition of cymbals and floaty, upbeat string-like synth. Percussion comes in later, supporting the beat set up by the bass guitar and rounding out the sound. This song is dominated by that guitar, the gritty sound giving a bit of edge to this lighthearted tune. It creates a sound that grabs your attention and makes you want to move your body.

Overall, “Sunshine Love” is a nice laid-back song that could fit in many situations, from a club setting to a road trip soundtrack. The strong beat makes it easy to dance to, while the cheerful melody allows for easy listening. This piece is a perfect blend of modern edginess with the retro vibe that makes old-school disco so fun.

Dancing Family

“Dancing Family” disarms you from the very beginning, and continues to surprise. What starts out as a typical upbeat song is transformed by the addition of subtle strings, barely audible over the strong synth. These strings play a simple melody, humming underneath the rest of the sounds and giving the entire piece a longing, nostalgic feel. While these strings are the main driving factor of the mood of the piece, the song itself is dominated by a strong drum and guitar beat, accented with powerful, distorted synths that build and drop throughout the piece, building tension and suspense.

With all these different elements stacked on top of each other, “Dancing Family” is almost overwhelming. Each listen invites a new discovery, something that you had missed the first time. This song is especially interesting to listen to with headphones on, as sound travels from side to side, giving an overwhelming 180 degree auditory experience. Overall, while “Dancing Family” might not be a song people can dance to, it’s a fascinating song that warrants one listen, if not more.

Waves

Starting off with a strong, rhythmic guitar, and groovy beat, “Waves” is a powerhouse. The guitar really gets to shine here, with synths acting mostly as accents, which is a nice twist to the usually very synth heavy tracks that dominate the Nu Disco genre. While this piece is very repetitive, it never feels boring. It cycles through enough themes to keep the momentum going, spacing out the more rhythmically complex stanzas with muted sections that keep the upbeat parts feeling interesting.

While too laid-back to be a club song, “Waves” is still a strong piece of music that commands attention. The powerful beat still encourages movement, and people who enjoy dancing can still find ways to groove to this piece. It would also be great in situations that call for energy and good vibes, such as house parties or other such large gatherings.

Mess It Up

“Mess It Up” opens up with a great guitar riff, a taste of what’s to come. Aggressive drums kick things up a notch, the powerful rhythm louder than any of the other instruments. That being said, despite the volume of the percussion, the guitars are still the most interesting part of the piece. They switch from being heavy and dry to being almost lyrical, their slow chords dragging gracefully over the sharpness of the drums. This rising and falling intensity creates a stimulating listening experience, a unique touch in a genre that is often focused on being hard and fast.

Overall, “Mess It Up” is a well-composed punk rock piece that manages to be both frantic and thoughtful, thanks to the different moods created by the guitars. This makes “Mess It Up a wonderful song to listen to, but it could also be used to great effect as a background song in a situation that requires both high energy moments of reflection.

Cybercrime

Opening with a moody guitar riff “Cybercrime” quickly picks up the pace. Gritty bass and guitars let it rip over equally hard drums. Crashing cymbals add an extra touch of aggression to the sound. The composition is simple but intense. Nothing sounds excessive, all the instruments play with purpose. The sounds layer well, producing an interesting piece of music without unnecessary showboating.

Overall, “Cybercrime” is an edgy piece that packs a punch, without any extra frills. The bare-bones composition is a perfect example of the minimalist punk rock setup. Just two guitars, bass, and a drum set, all used with enthusiasm to produce an incredibly powerful song. It might not be easy listening, but punk rock fans will appreciate it for what it is.

Bang! Bang! Bang!

The aptly named “Bang! Bang! Bang!” is a fast-paced piece with hard rhythms. Drums are the highlight of the song. While the guitars play a relatively simple melody, the percussion is constantly changing rhythms. The drums are relentless. Although they do switch to simpler rhythm patterns at some points in the song, for the most part, the percussion is complex and intense. It has an undeniable presence, nearly drowning out the rest of the instruments.

Overall, “Bang! Bang! Bang!” is an aggressive, rapid-fire song that perfectly captures the energy and attitude of punk rock. With the intense drums and sharp rhythm, this piece is a total headbanger. Listeners will have a hard time keeping still. This song is best enjoyed with headphones on, or blasting in the car. This allows for every element to be heard.

Johnny

“Johnny” gives off more of a traditional rock sound, especially in the beginning. The guitars have some great, classic sounding riff. Meanwhile, strong drums, lots of cymbals, and a thrumming bass add the aggressive edge that people look for in punk rock. An interesting element is the addition of electronic noises in the background. These noises sound like feedback from amplifiers or speakers, and at some point, there’s a beep that is reminiscent of the dial tones on old telephones. They make for an unusual, but welcome, addition.

Overall, “Johnny” is simple, predictable, but really enjoyable to listen to. The electronic accents add flair, and the classic rock style riffs are a pleasant balance to the intense percussion. Thanks to this blend of styles, this song is great for people who are new to punk rock, while still being enjoyable for fans of the genre.

Escape the Dark

“Escape the Dark” wastes no time getting started. This piece is fast and doesn’t let up. Frantic drums dominate, alongside equally powerful guitars. Melody-wise, “Escape the Dark” is very simple, focusing on the same handful of notes. Instead, the focus is on different drum rhythms. Cymbals are used here to great effect, ringing out clearly above the rest of the noise. To add interest, there are some periods where things slow down, the guitars playing long chords instead of the sharp thrumming of the rest of the song. These slow bits do nothing to lessen the frenzied feeling of this piece.

Overall, “Escape the Dark” is the kind of song that gets your heart pumping. The entire song feels like it is moving too fast. That being said, this isn’t a bad thing. The speed and simplicity of this song are great punk rock elements, and, upon further listening, there are actually many layers to this song that keep things entertaining even after the first listen. Another great aspect of this song is the big buildup to the ending, like a train running out of steam. With many royalty-free songs favoring quick endings so the song can be looped relatively seamlessly, “Escape the Dark” takes it’s time delivering an interesting ending, a stylistic touch that is much appreciated.

London Fog

“London Fog” starts slow, but devolves into a rapid-fire of the drum. The percussion is relentless and powerful, pulling all the attention to itself. In comparison, the guitars and bass, are relatively quiet, holding together the song while the drums are allowed to run wild. That being said, there are opportunities for the guitars to show off, and they do so willingly. As a result, there are areas in the piece where the listener is treated to some incredible riffs. A satisfying final touch is the great drum solo at the end.

“London Fog” is a wonderful example of minimalist composition done well. Despite the bare-bones set-up of punk rock, everything feels well balanced and the song has so many interesting layers. A very easy listening song, “London Fog” is definitely one to play through more than once.

Paris Gare du Nord

“Paris Gare du Nord” doesn’t hold back! This song goes at a truly breakneck pace, a typical staple of punk rock. This is a bare-bones song, no fancy accents here. Just the quintessential two guitars, drum set, and bass. The guitars go hard and fast, bouncing off each other to deliver a frantic, dizzying melody. Syncopated drums keep the pace, while the bass thrums under it all, rounding out the sound.

“Paris Gare du Nord” is everything great about punk rock. The speed gets the heart racing, the volume of the music is near deafening, and the melody is so aggressive it’s a wonder the guitars didn’t snap a couple strings. Punk rock fans will enjoy giving this a listen, and it’s also a fitting background song in situations that call for something frenzied and hard-core.

School Sucks

“School Sucks” takes its time getting started, but delivers some great punk rock sound. The guitars are deep and gritty, but their melodies still maintain an upbeat feeling. It captures the good-natured rebellion that is the backbone of punk rock. On top of the guitars, there are syncopated drums. They play a variety of rhythms, adding great flair to the simple, but effective melody.

Overall, “School Sucks” captures the youthful energy present in many punk rock songs. Righteous adolescent anger was the catalyst for many punk rock bands, and this song, in particular, is reminiscent of something cobbled together by a bunch of rebellious teens in their parents’ garage. A wonderful, upbeat punk rock song, it makes for easy listening, or as a backdrop for high school rebellion.

Maximum Speed Ahead

“Maximum Speed Ahead” is a quintessential punk rock song. Strong electric guitars are paired with an equally powerful drum. This piece gets in your face, demanding attention. The simple melody is accented with some great riffs, which keep things interesting, as does the frequent use of the whammy bar. While the tempo may not be breakneck pace, there is no denying the intensity of this piece.

Overall, “Maximum Speed Ahead” is a fantastic piece to listen to. It is raw and gritty, clearly not interested in sounding pretty or fancy. The composition is minimalist, but powerful, a trademark of the punk rock style. Although lyrics have been touted as a necessary aspect for the punk rock genre, the beauty of this piece is that even without vocals, it is so distinctly punk rock. An added benefit of it being royalty free music is that vocals, if desired, can be recorded and layered on top. However, “Maximum Speed Ahead” is fantastic as is.

Punk Rock Riot

“Punk Rock Riot” is an explosion of energy. The delivery is slower, nowhere near the breakneck pace of some other punk rock songs, but it is by no means lacking in fervor. Guitars are the focus here, their hard and dry melody holding out strongly over everything else. Their sound is rounded out with good use of the whammy bar, giving an extra flair without sounding excessive. The drums, which play some incredible syncopated rhythms, hold things together in the background, along with the steady bass.

Overall “Punk Rock Riot” is nothing special in the overall scheme of things but still holds its own as a great, classic, punk rock style piece. The instruments layer on top of each other beautifully and the resulting song is complex without being convoluted. There is nothing offensive or excessive about this piece. Truly a great piece to listen to, even for people who aren’t fans of punk rock.

Like This

The idea of Balkan music, to those who are unfamiliar with it, can make them think of something old-fashioned and outdated. Folk music “Like This” takes traditional Balkan music and adds a modern twist. A strong beat and the use of synthesizer creates an edgy feeling, while the melody, though simple and repetitive, is catchy and good for dancing. Top it off with some rap-style ad-libs, and you have a piece of music that sounds like it could be playing at a hip nightclub.

This energetic piece creates a rhythmic, angular, exotic sound that fills the listener with the desire to move. The modern sound of the synth and the crisp sound of the brass dominate the piece, creating a simple, but effective theme. Overall, “Like This” is an excellent contemporary piece of Balkan music that can be used to add energy to the environment without being overly distracting.

Dusk

Starting off with frantic drums, “Dusk” feels almost punk until you add the strings in. This frenzied piece is dominated by strings that sound like they are barely in control. The purposeful glissandos and messy finger work give the feeling of chaos, a feeling that is accented by the similar out of control feeling from the other instruments, namely what sounds like an accordion. The instruments collide in a way that is wild, but still sounds interesting and logical to the ear. There is some tension with certain chords being almost too tight to sound good, but the tension works in favor of the song. The sense of unease builds and builds, but never becomes too much for the listener.

“Dusk” is an excellent song to use to incite feelings of delirium or to portray a scene of drama and chaos. It maintains what makes Balkan music, while sounding like nothing you’ve ever heard before. This is a great piece of music, and it certainly warrants more than one listen.

Jamming

Starting out with a disco feel, “Jamming” quickly transitions to a woodwind heavy melody. The vibe goes from nightclub to jazz bar to reggae and back again in the blink of an eye. This quickly transforming piece of music is held together by a distinctly exotic synth beats, reminiscent of the sort of thing you hear in a Bob Marley song. Once it’s started, this song keeps up the pace, never slacking when it comes to tempo. It’s energetic and enjoyable to listen to.

“Jamming” is unexpected and unique in all the right ways. The way this piece blends such seemingly unrelated elements into one song is fascinating. Add a couple of odd touches, including a rooster crow or two, and you have a piece of music you’ll want to listen to again and again.

Misty Forest

“Misty Forest” is a dizzying song with a heart pounding rhythm. The minor key adds a sense of mystery and makes this a good track to use when you want to create an atmosphere of suspense, without making the listener too tense. It’s the difference between the music you hear in a spy or detective movie, and the music you hear in a horror movie. “Misty Forest” is more of the former, providing intrigue without causing anxiety.

Opening with a powerful synth run, this piece eventually mellows out into a hypnotic blend of wind instruments. Winding woodwinds and brass add a touch of exotic to this song. The song ebbs and flows in terms of volume but retains its emotional energy. Throughout, a repetitive syncopated drum rhythm keeps things connected. Overall “Misty Forest” provides a good mix of energy and intrigue, all while maintaining the exotic and rhythmic sound of Balkan music.

Shukar

With its steady, almost tribal sounding drums and haunting use of synth, “Shukar” sounds like a walk in a jungle. Elephantine trumpet calls are interrupted by female vocals speaking in the Romani language. The vocals are as steady as the drums, like a rap or spoken word. While steady in tone and dynamics, the woman’s voice is edgy and has a good attitude. There is no melody to the voice, with the melody being carried by the instruments, namely the trumpet mentioned earlier.

This intensely rhythmic piece of music gives off a mysterious feeling, the crisp, repetitive beats taking control of the beats of your heart and resonating in your chest. It ends as suddenly as it begins, the trumpets giving one more burst before going silent.

Let’s Dance

This song lives up to its name. “Just Dance” is dominated by an addictive rhythm that makes the listener want to move their body. Not your typical nightclub music, this piece leans more in the vein of folk music. It feels traditional, but that doesn’t have to mean boring. Balkan music, after all, is known for its energy and interesting rhythms.

In this song, the melody is unpredictable and winding, sometimes veering into the realm of chaotic. The string instruments play in a deliberately messy way, sliding along the strings to create a disordered feeling. Behind it all, a modern beat keeps things just barely organized enough to make sense.

Despite the chaos and sometimes nearly too dissonant notes, this piece of music is addicting. “Just Dance” might be out of place in your typical nightclub, but this unrestrained piece of music will still get listeners out of their seats, and their heart pumping a bit faster.

Blue Eyes

With its syncopated rhythms and clever use of brass instruments, “Blue Eyes” is reminiscent of Latin dance music, especially salsa music. The percussion line is infectious with its energy, enticing the listener to get up and dance. The addition of electronic keyboard adds an almost blues-y flavor, but the brass and beat keep it feeling exotic and fun. There is nothing boring or typical about this song. Despite its similarities for other types of music, the way it blends Balkan sensibilities with Latin flavor is unique and interesting.

“Blue Eyes” works both as dance music, and as a captivating song to listen to without moving at all. This piece is a song that demands attention and works best when it’s given space to shine. The melody is repetitive and powerful, frequently peaking with a powerful blast of brass. This piece is compelling, and a first-rate choice for people seeking a potent song to capture an audience.

Any Time

“Any Time” is a percussion heavy piece with some melodious wind instruments and rap-style ad-libs mixed in to create a piece that is both classical feeling, but distinctly modern. Harkening to Latin dance music, the tango in particular, this song is a fascinating blend very different elements to create an aural journey. It is impossible to predict what is going to happen next. The rap ad-libs can feel almost unnecessary, with such a lush melody already dominating the song, but they are undeniably fun and add an extra kick to the piece.

Overall, “Any Time” is a sultry, sexy piece of music with a rap twist, a song that could feel at home in a variety of situations. It can blend into the background or stand on its own. Either way, it is enjoyable to listen to, and even more enjoyable to dance to, especially if you know how to tango.

Love Affair

With a crisp and defined rhythm and melody, “Love Affair” sounds much more traditionally Balkan in terms of styling. However, unlike traditional Balkan folk music, this song gives off a different kind of exotic feeling. The winding and hypnotic wind instruments that carry the melody offer a romantic sound, calling to mind the sounds of the Middle East. It transports the listener to a distant place, calling to mind a romance in a land of palm trees, camels, and gossamer fabrics blowing in the cinnamon scented breeze.

Despite being musically complex, with a dizzying run of notes as a melody, “Love Affair” has the benefit of being tonally steady, lending it well to being a background song. Due to its well-regulated tempo and tone, it does not stand out too much, and can therefore blend well with other sounds. That being said, it is still an interesting song to listen to. Simple does not mean boring.

Adriatic Sunset

Opening with drums and vocals, “Adriatic Sunset” is a bizarre, but peppy, piece of music. Reminding the listener of early Ska music, this trumpet heavy piece is dynamic in all the right ways. Simple but energetic, this song delivers a unique sound with its unusual rhythm and heavy use of freestyle ad-libs. The ad-libs, performed by a male voice, are sometimes sudden and unexpected, but help add some interest in a rather repetitive song.

Guided by the steady cadence of the backing brass, this song weaves other brass instruments with ease, sprinkling in synth, vocals, and percussion to add aural interest. Although it might not be for everyone, “Adriatic Sunset” can be a good choice for someone looking for a quirky piece of music that still sounds pleasant to the ear.