Copyrighted Production Music
VHEX 03 What The Hell
VHEX03 Number of tracks：11 Track(s)
Introduction：From the unexplainable to the inexplicable and everything in between. These cuts were just too weird to go on a regular album, even for us.
Label Name：VHEX
Album tracklist
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Atmospheric, disturbing combination of hollow-metal synth pads and wrenching, syncopated radio interference stabs, simple computer-esque bleeps and synth bass. Sounds like a computer slowly, progressively short-circuiting or a wet kitten licking an electrical outlet. No real rhymes or reason here, just good ol' random disturbances and disorienting mayhem, great for nightmares, computer-related disasters and Internet dangers.
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The psychotic national anthem. Sound collage utilizing bit crushed drum fills, bowed acoustic guitar, synths, reversed piano slams, metal screeches, and grain synthesized hi hats. Basically, it sounds like random snippets of chaos on drugs - much like John Cage, Edgar Varese or a stoned Berklee grad. Tons of dynamics - going from silence to intense noise - then back again. Unpredictable. Good for freakouts, nightmare sequences, terror and conveying insanity.
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Have to convey confusion and miscommunication? A veritable Tower of Babel of spoken gibberish that builds throughout, adding electronic drums @:05, and adding more layers @:09 with a four-on-the-floor kick that kicks into doubletime @:18, sounding like a fast-forwarded tape. Pause @:27 that builds again to :37 where pounding 80's distorted drums enter for a bit. Great for crappy cell phone reception, telephone commercials and as an example of media overload.
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A spare collage of tension-inducing metallic sounds that creates a stop/start bed of discomfort that would be appropriate for horror, dream-like flashbacks or a commercial for a migraine clinic. Starting with bowed cymbals and pulsing low-frequency noise, the sounds build until a slowed-down drum loop enters @:29 and creates a more driving (albeit SLOWLY driving) bed of catastrophe and pain, littered with heavily reverbed snare hits.
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Long-developing build and fade. Amorphous, hazy fields of sound design that coalesce into a bed of looped, driving percussion around :31 and then begins dissolving back a hazy wash of sound @:46ish. Punctuated by snare hits and delayed synth washes, this cut works for long intros and confusing fast cutting. It's experimental. If you want a melody, this might not be the cut for you.
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Computeristic brain damage. Heavily processed vocals (dividing the word "modularity" into distinct syllables and triggering them from a sampler) and early 80's drum machine (in @:05) create an atmosphere of Stephen Hawking rapping with a Speak-N-Spell. Irreverent, hip, yet silly track.
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A track made almost entirely with vacuum cleaner noises. Yeah, we thought the idea sucked, too. Just like that last joke. Starts with "sweeping" percussion and the main motor turning on @:09. Ends @:18 with a power-off and Mom saying you can put your feet back down.
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A percussion-based cut that brings to mind Asian rituals and ancient cultures. Starts subtly with atmospheric bells/chimes, distant thudding drums, cymbals and skin drum rolls (no, this is not sushi), occasionally cutting to dead silence for dramatic stop/starts (like the sudden cut @:23). Starts a pounding build @:16 that anti-climaxes @:23 with a cut to silence, only to payoff with a dampened cymbal hit @:25.
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Hey, Food Channel! Have we got one for you! Amidst the sound of heartbeats, atmospheric metal, breaking bones and metallic slams, we are treated to the sound of the eating of human flesh, bones and in one overzealous moment, a belt buckle. Although cannibalism isn't in vogue like it used to be, we know that "Survivor" might need this some day. "My name is Frank, I'm a member of the Delicious tribe."
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Okay. Need to suggest kind of ad hoc, almost "Little Rascals"-level gadgetry? Imagine an early version of an iron lung, using mechanical elements that sputter sparks, hissing pneumatics and rumbling, grinding gears. Still with me? Okay: we've combined those elements into a neat little module, useful for humorous suggestions of machinery or the sound of the world's most uncomfortable pacemaker. What do you think? Hello? Oh crap, we've lost you.
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Percussive hit-filled collection of metallic/wooden percussion mixed with processed electric bass-generated sound design that suggests stop/start chaotic footage punctuated by shocking stills. Good for dramatic intros.
