
HORROR
Track
Dauer
Skydiva
Gruseliger Underscore, düstere Drones, Mallets & Lachen, unheimliche Bedrohung durch einen Psychopathen
02:03
Caleb Swift
Apprehension, tension and eerie tones on sound design, percussion, strings and vocal fx
01:49
James Elsey
Screeching horror strings eerily build with twisting synth textures and pulsing percussion towards a horrifying and frantic climax.
01:46
James Elsey
Ominous synth and string screeches build with a steady pulse, pushing towards a climax of frantic chromatic strings, distorted synths and driving percussion, constructing an eery and panicked atmosphere.
02:10
Hans Michael Hess
Solemn and dark piano motif slowly builds to an epic orchestral horror track.
03:12
Kurt Oldman
Suspenseful, haunting string pads, music box, electric guitar and eerie toy piano theme build to backend booms and hits
01:53
Mark Stephen Cousins, Adam Saunders
Dark and sinister synthesiser pulses create an epic, cinematic landscape.
02:27
Deaner Volante
Trailer, Suspense, Horror, Terror, Brooding, Haunting, Sinister, Thriller, Fear, Dark, Suspenseful, Ominous, Evil
01:52
Blake Reginald Bennett
Equal parts elegant and macabre. A dynamic orchestral arrangement with dramatic choir and gothic melodies.
02:03
Neil Robert Dube, Molly Jackson, Stephen Roast
Beautiful yet haunting. Piano, celesta and strings in a waltz macabre, topped by an eerie solo cello and violin.
02:42
Molly Jackson, Stephen Roast, Tim John Howarth
Moody percussive track with disturbing strings, piano and sound fx. Eerie soprano voice glides over the middle section.
02:17
Viktor Petrov
Gespenstischer Atmosphere, düstere Soundscape, Terror, Horror, Verbrechen
02:13
David Benaroch
Heimsuchender Trailer-Atmosphere mit dunklen Synths und SFX für mitreißenden Horror
01:51
Erik Vargas
Düstere Cello-Texturen für Mysterien, Verbrechen, Sci-Fi, Abenteuer und Horror
02:02
Bobby Tahouri
A dark and suspenseful piece that builds. It features a quirky tick tock effect and a number of metallic percussive elements as well as several string motifs.
3:04




