This unique collection, Mallets and Orchestral Fusion, combines the delicate tones of mallet instruments with the grandeur of a full orchestra. Featuring shimmering marimbas, resonant xylophones, and lush strings, each track creates a harmonious blend of precision and depth. Perfect for cinematic projects, elegant storytelling, or creating a sophisticated and refined atmosphere, this music captures the beauty of orchestral richness with the intricate textures of mallet instruments.

Melodic Instrumental Journey

Mallets And Melodies

Instrumental Symphony Tales

Instrumental Melody Cascade

Instrumental Mallet Magic

Enchanting Orchestra Sounds

Classical Symphony Serenade

Classical Instrumental Medley

Classical Harmonic Delight

Classical Cues And Harmonies

Creeping Sense esneS gnipeerC

Theme for the Indie game "The Tomb". In this track it is suppose to play when the player is sneaking around the tomb of the pharoah that dies.

©2025 Jonathan Elliott. All Rights Reserved



The Tomb | Creeping Theme Test

[VERSE]
Down the road which asters tangle,
    Thro' the gap where green-briar twines,
    By the path where dry leaves dangle
    Sere from the ivy vines

[VERSE]
    We go--by sedgy fallows
    And along the stifled brook,
    Till it stops in lushy mallows
    Just at the bridge's crook.

[PRE-CHORUS]
    Then, again, o'er fence, thro' thicket,
    To the mouth of the rough ravine,
    Where the weird leaf-hidden cricket
    Chirrs thro' the weirder green,

[CHORUS]
    Oh, the wood with winds a-wrestle!
    With the nut and acorn strown!
    Oh, the wood where creepers trestle
    Tree unto tree o'ergrown!

[VERSE]
    There's a way, o'er rocks--but quicker
    Is the beat of heart and foot,
    As the beams above us flicker
    Sun upon moss and root!

[VERSE]
    With a climb the ledging summit
    Of the hill is reached in glee.
    For an hour we gaze off from it
    Into the sky's blue sea.

[BRIDGE]
    And we leap--as wildness tingles
    From the air into our blood--
    With a cry thro' golden dingles
    Hid in the heart of the wood.

[CHORUS]
    Oh, the wood with winds a-wrestle!
    With the nut and acorn strown!
    Oh, the wood where creepers trestle
    Tree unto tree o'ergrown!

[VERSE]
    But a bell and sunset's crimson
    Soon recall the homeward path.
    And we turn as the glory dims on
    The hay-field's mounded math.

[VERSE]
    Thro' the soft and silent twilight
    We come, to the stile at last,
    As the clear undying eyelight
    Of the stars tells day is past.

    Thro' the soft and silent twilight
    We come, to the stile at last!

Adapted from 'The Ramble' by Cale Young Rice 

Wood with Winds

Action Creep (clip)

Nightmares begin where memory falters.
Kareem Matthews never believed the dream could hurt him — not really. But the night his life fractured, when steel and fire took his wife and left him and his daughter broken in a hospital bed, a door opened. Not just in his mind, but in the very fabric of the world.

Volume I was the descent. Kareem fell into a nightmare that felt too real, ruled by an entity known only as The Wraith — a thing of shadow and hymn, a being that rewrote faith into torment. He wandered through ash-choked chapels and choirs that screamed from beneath the earth, fighting to wake, fighting to live, only to discover that the nightmare wanted more than his sleep — it wanted him.

Omen's Lament

A folk-style tale from the edge of Fumble Creek, where one goose has haunted a man’s steps since boyhood. Told with wit, rhythm, and a touch of dread, this playful narrative unfolds in verses and pub-worthy choruses — weaving a saga of feathers, folklore, and the kind of menace that waddles where it wills. Whether sung with a grin or a shudder, the tale is yours to take flight.

[LYRICS]

"You laugh today, but mark me word
She’ll find you yet, that flappin’ bird."

I hail from down by Fumble Creek,
Where geese don’t honk — they plot and sneak.
Since I was ten, one’s chased me soul,
With eyes that glint and thighs that roll.

She honks like skirts in windy squares,
No feathered beast should draw such stares.

She flaps, she sways, then off she struts
That goose, I swear, will drive me nuts!
She plucks and nips, then off she flew,
I’d half a mind to chase her too.

She honks like skirts in windy squares,
No feathered beast should draw such stares.

Back when I were a wee lad still,
Out where the path bends past the mill
She bit me calf behind the swings,
Then tugged me scarf and flapped her wings.

She honks like skirts in windy squares,
No feathered beast should draw such stares.

She stalks me ’round the bramble gate,
While I were out and running late.
She hissed, she darted, gave a clack,
I dropped me pack and legged the track.

She honks like skirts in windy squares,
No feathered beast should draw such stares.

While I nurse a pint, and me mind’s adrift,
She waddles in loud — all fluff and lift.
She squawks like charm, but truth be this:
I hear nowt more than goose-born hiss.

She flaps, she sways, then off she struts
That goose, I swear, will drive me nuts!
She plucks and nips, then off she flew,
I’d half a mind to chase her too.

She honks like skirts in windy squares,
No feathered beast should draw such stares.

Me aunt’s cat lost near half her fate,
No lane too narrow, no hour too late.
She cornered three behind the crate,
The Vicar cursed and leapt the gate.

That goose? She’s set the hens to cluck,
And had The Vicar shouting “duck!”

I thought I'd rest — a final sleep,
Six feet below, no squawk, no peep.
But just as soil began to drop—
I swear I heard her goose feet plop.

She flaps, she sways, then off she struts—
That goose, I swear, will drive me nuts!
She plucks and nips, then off she flew,
I’d half a mind to chase her too.

So mark me stone, and mind me plot —
’Tis one waddlin’ menace still haunts the lot.

It just might, aye!

Feathered Menace of Fumble Creek

iNFATHOM

Life To Lifeless - Creeping Death (Instrumental Cover)

New York 1997 (Live Halloween Jam)

Horror Synth, Electronics and Industrial celebrations of Sleazoid Cinema and EBM Grooves!

I’ve always lived at the crossroads of music and poetry — where feeling becomes form, and melody turns memory into meaning. Whether it’s a lingering jazz note, a well-placed rhyme, or a shift in tempo that tells a deeper story, I’m drawn to that quiet magic where art reflects life with a little more style.

My roots are in classic music — the kind that doesn’t chase the moment but lingers with you long after the last note. Over time, that love expanded into poetry writing and jazz — especially the kind that swings, speaks, and smirks all at once. Jazz, to me, isn’t just a genre; it’s a personality. A conversation. A little tilt of the head and a grin that knows more than it says.

When I set out to create an album, it’s rarely just a collection of songs. I approach it like a personal playlist — one that drifts and flows as if the entire tracklist were one long, uninterrupted piece. Each track leans into the next, shifting mood, pace, or voice, but always carrying the same thread of feeling. I want you to listen the way I do — not as a shuffle of moments, but as a cinematic arc. One breath that lasts an hour.

Lyrically, my work is rooted in lived experience. Sometimes it’s obvious. Other times it’s just the skeleton of a memory, dressed up in wit, irony, or longing. I draw from real-life events, then let the poet in me twist, stretch, or sweeten them to taste. Depending on the tone of the album — playful, romantic, nostalgic, or something in between — I try to keep the emotional truth intact while giving it a fresh coat of creativity. A little humor where it fits. A deeper dive where it hurts.

My newest jazz album continues this tradition — short-lined swing tracks, conversational duets, and tongue-in-cheek storytelling. It’s an homage to late-night alleyway ballads, rooftop serenades, and train station goodbyes — all bound together with a sense of charm and cohesion. Each song is its own little scene, but together they tell a story — one you can revisit with each replay.

Thanks for stopping by my profile. I hope you find something that earns a spot on your repeat-play list — a melody, a lyric, or a moment that feels like it was written just for you.

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

Discover our music collection, packed with tracks that are full of feeling and energy. From soulful piano tunes to lively rock and funky rhythms, we've got something for every mood. Our unique touch adds character to each project, making it a perfect fit for your creative endeavors.

Music Studio, covering any genre, any kind of artist.

My Name is Jonathan Elliott and I am a programmer as my main life, but I am a 3D modeler, musician, and want to do a lot of things. I hope you enjoy the tracks layed out!

Lead Guitar for Life to Lifeless

I produce, mix, and master my own music. I like to do a lot of covers sometimes adding my own twist on things

New tracks tagged #creeping