Essential tracks from the most notable classical works ever recorded - both old and new. Featuring Mozart, Beethoven, Bach, Chopin, Satie, Brahms, Vivaldi, Max Richter, Ludovico Einaudi

Best Classical Music

Kaldalóns: Ave María (Arr. Víkingur Ólafsson)

Kaldalóns: Ave María (Arr. Víkingur Ólafsson) (Upright Piano)

Satie: Gnossiennes: No. 1, Lent

No. 1, Lent (Upright Version)

In A Landscape

And Some Will Fall (Edit)

Album Title: Resident Evil: Biohazard Sound Chronicles (Fanmade OST)
Subtitle: A Fanmade Resident Evil Inspired Soundtracks
Artist: nezuki_chan
Release: 2025

The darkness has a sound. "Biohazard Sound Chronicles" is a fanmade original soundtrack by nezuki_chan, reimagining the essence of Resident Evil through haunting, cinematic soundscapes. Each track plays like a lost chapter of the series — unsettling, atmospheric, and deeply immersive. Orchestral fragments, industrial textures, cold synth layers, and organic sound design combine to create a sonic journey into survival horror.

[Track Concept]:

Each piece is inspired by iconic Resident Evil–like locations and scenarios, turning them into tense and immersive soundscapes:

Save Rooms – melancholic piano themes and soft drones, fragile moments of safety in a hostile world.

Underground Corridor – metallic echoes, dripping water, the sound of footsteps swallowed by endless tunnels.

Hidden Forest – distorted natural ambience, ominous strings, fog and dread between the trees.

Abandoned Train Tunnel – screeching rails, reverberating iron, claustrophobic horror in the dark.

R.P.D Police Department – Corridor – ominous pulses, flickering lamps, the iconic emptiness of a haunted police station.

Abandoned Hospital – sterile emptiness, rhythmic dripping, mechanical hums, and cold, echoing piano notes.

Raccoon City: Quarantine (Boss Theme I) – aggressive percussion, distorted strings, pounding bass for a desperate battle.

Underground Tunnels (Boss Theme II) – heavy industrial rhythms, chaotic synths, relentless tension.

The Graveyard – fog, choirs, distant bells, a requiem of unease and forgotten souls.

Underground Laboratory – pure sci-fi horror: synthetic pulses, machine distortions, resonant drones.

Underwater Research Facilities – muffled, pressurized tones, distorted ambience evoking the crushing depths.

Air Plane – Last Boss Theme – fast-paced orchestration, thunderous percussion, the sound of final despair.

Credits (Alone) - an emotional female vocal, telling the story of some places in the game and what all been seen.

[Artistic Vision]:

This album is not a copy, but a reinterpretation of the Resident Evil atmosphere. Each track feels like a missing piece of survival horror history — from the flickering comfort of the Save Rooms to the apocalyptic intensity of the last boss fight. With "Biohazard Sound Chronicles", nezuki_chan combines the series’ iconic sound identity with a unique personal style, crafting something authentic yet original.

⚠️ Note: This album is a fanmade project. It is not affiliated with or endorsed by Capcom or the Resident Evil series.

Resident Evil - Hidden Forest | Instrumental Fan Music

Dark ambient Dreamscapes for you to enjoy. Relax, unwind, meditate and chillout

DARK AMBIENT - IN TENEBRIS

Tune Your Brain for Stress Relief

Liszt: Consolations, S. 172: No. 3 in D-Flat Major. Lento, placido

Saint-Saëns: Carnival of the Animals: The Swan

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

And Some Will Fall (Edit)

max richter

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