Muscles

hm..

Good Vibe

icewind

Sport

Pure music

Goodies

Goodies-1 (Zc's Dolce Remix)

Sea of Bees 'Wizbot', taken from their first debut Heavenly album 'Songs for the Ravens', remixed by Conquering Animal Sound.

7" available from http://www.roughtrade.com/site/shop_detail.lasso?search_type=sku&amp;sku=336184

Sea of Bees Official Website http://www.seaofbees.com
Conquering Animal Sound Myspace http://www.myspace.com/conqueringanimalsound


Sea of Bees - Wizbot (Conquering Animal Sound Remix)

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FlorenceThe Machine Vs. John Martin Vs. Miley Cyrus- Reload again your life  (Djenergy)

FTL OST - Last Stand

B.U.R.N. - Audio Preview

Sexy, twisted, dark action, sci-fi track. Pure attitude and maximum swagger. Sound design intro to 0:30 then breaking into tough, rhythmical, theme with aggressive guitar stabs. Drop down at 1:10 into electronic mid section. Rise at 1:22 into sequence of double hits repeating over moody, twisted guitar theme. Electronic rise at 1:45 into foot-stomping final act.


FEM21 2 Edge Of Humanity (a) (Russell A. McKamey)

Cool, punchy action sound design track. Crunchy guitars, tough beats, robotic sound design and dub effects. Drop down at 1:26 into driving rhythm and powerful back-end with two double hits and rise.


FEM21 5 Start 'Em Up (a) (Russell A. McKamey)

Guitar and synth action track reminiscent of a 1980's car chase movie. Opens with ticking clock and whoosh into treble hit with guitar and synth. Cool guitar theme, pulsing rhythm, hits and synth. Rhythmic guitar stabs and drums at 0:55. Mid section full of anticipation from 1:11 features the ticking clock and synth, then rise begins at 1:32 and clock speeds up. 1:42 to end takes no prisoners with a full-throttle back-end.

FEM21 8 The Super Race (a) (Russell A. McKamey)

Dizzying sci-fi sound design track. Dark, sporadic sound design with heart beat from 0:23, speeding up at 0:29. Series of hits interspersed with strange and dark sound design between 0:32 and 0:37 and 0:53. Breaks into stomping, rhythmical section from 0:53 with a robotic feeling. Drop down at 1:28 into a series of eerie stabs which speed up. An urgent, screaming, siren joins at 1:42 as the stabs speed up in a terrifyingly ominous back-end.

FEM21 9 Submerged (a) (Russell A. McKamey)

KB - The Product, taken from the demo 'The Product' by Farbrausch

KB - The Product

Duran Duran - A View To A Kill [12'' Extended Remix]

Team Fortress 2 - Right Behind You (Alex Giudici Remix)

DYATHON - Hope

An older song I wrote over a year ago, now joining SoundCloud...

YouTube Version: https://www.youtube.com/watch?v=Qt30LrK_H24&index=10&list=PLlkP29Qb2m4tMvn5Z0nrfe0FivUddSRDX&spfreload=10

Recharge

Digital City

The Colossal Machine Falls Apart

This is not mine!! All rights go to Arn Andersson & Nights Amore!!
Enjoy this Emotinal track ;)

Arn Andersson & Nights Amore - Farewell Life

Groundhog

Falling

Second single to be taken from the album 'Junior'. Featuring the unmistakable vocals of fellow Scandi pop superstar Robyn, ‘The Girl and the Robot’ is shaping up to be one of the biggest pop tracks of the year with the likes of Pitchfork declaring it a contender for Single of the Year already and Popjustice calling it ‘a demented, choral, electronic masterpiece’.

The Girl and The Robot (Davide Rossi Suite for a Robotic Girl Re-Interpretation)

Beautiful Lie - Hans Zimmer & Junkie XL [Remix]

My mother wanted me to make a remix of her favorite song. So I did just that.

David Bowie - Let's Dance Remix (Personal Request)

Dyathon on SoundCloud: https://soundcloud.com/dyathon

Dyathon and Rayden - Eternal Road

Dunkirk (Original Motion Picture Soundtrack)

Regimental Brothers

Here's the music from the latest teaser for Gen:LOCK - a new animated show by Rooster Teeth featuring Michael B. Jordan, Dakota Fanning and David Tennant I'm composing music for!

Full trailer: https://roosterteeth.com/episode/rooster-teeth-podcast-2018-rooster-teeth-podcast-505

Gen:LOCK Reveal Teaser #2

Blue Monday - Official "New Order" Cover by Sebastian Böhm. Official "Wonder Woman 1984" Trailer Music.

Stream/Buy "Blue Monday": https://fanlink.to/SebastianBohmBlueMonday

Connect with me:
Facebook: https://www.facebook.com/SebastianBohmMusic/
Instagram: https://www.instagram.com/sebastian_bohm_music/
Twitter: https://twitter.com/SebBohmMusic
Spotify: https://open.spotify.com/artist/3Y3rZzomzJnLjgCAQxN0cb
YouTube: https://www.youtube.com/channel/UCCxrjU46rQIbMVLsgt4EwrA
Soundcloud: https://soundcloud.com/sebastianbohm
Vimeo: https://vimeo.com/sebastianbohm

Original music written by "New Order". Cover arranged and produced by Sebastian Böhm.

Blue Monday (Official "Wonder Woman 1984" Trailer Music)

BeeZerk - I Love Bees

SIMPLE MINDS VS ULTRAVOX FEB 15 MIX 2

Icewind Dale - 09 Kuldahar Theme

Got 2nd place in the music compo at PixelJam 2013.
It was originally made for an indie game which got cancelled in the end.

Hazel - Too Many Balls To Handle (Intro)

Released in 2010.
From the album "The Day We Left Earth".

Sound of Hazel - The Day We Left Earth (2010)

Version personnelle avec mon Virus Ti2 keyboard

Isolated System - Muse - World War Z theme

Scott Johnson is a composer for film, games, and other media. Also a writer and filmmaker, Scott began scoring his own films from a young age; with the idea of making movies naturally came the need for music. As time progressed, he further realized the power of the right score. Now a member of ASCAP, Scott professionally produces music for a variety of projects. His involvement ranges from student films to work from major film studios, such as Warner Bros. 

For Scott, film scoring is a process of energy and creativity. Adept at creating themes and symbols through music, Scott rewards listeners for repeated listening, especially in the case of a larger work such as an album. Scott enjoys film scoring because of this; there are a myriad of ideas in a film’s story to be represented musically. 

Every project has a unique sound. Scott not only writes music that complements the storytelling, but music that establishes the sonic landscape of a project (considering setting, characters, motivations, etc). In this case, an understanding of film is equally important to an understanding of music. While film scoring allows for a versatility of styles, a film requires music strictly linked to its DNA. For Scott, it's all about writing to this identity, exploring different harmonic languages, textures, and sounds to build an auditory story to accompany the visual one. The collaborative energy and effort involved in filmmaking has always been an inspiration for Scott. Like Christopher Nolan said to Hans Zimmer at the conception of “Interstellar”: It’s about knowing the heart of the movie. 

In addition to working with traditional, live players, Scott embraces technology in the music industry, and works at the forefront of its rapid development. With the art of sampled music and orchestral mockups, Scott focuses on achieving the greatest realism possible through the marriage of tools such as sample libraries and skills like orchestration and sound engineering. 

From the movies to personal life, music keeps everything connected. A film’s score integrates components such as character situation and landscape to reinforce a story. But outside of film, music connects people to their own stories, and to each other. Unique to the medium of music, something so personal to one person can instantly become personal to another the moment it is played. Mastering the psychology of music is a mastery of connection.