These ambient royalty-free music tracks consist essentially of dreamy atmospheres, with soothing harmonies and off axis underscores. The emotion of the background music is a perfect fit for film scoring, game audio, trailers, audio logos, radio and TV advertising, and any project that require an inspirational vibe.
Although you could find some fair similarity of the works of Jon Hallur with the EVE-online soundtrack, with its cinematic tone and structure, the Age of Solace delivers with a pleasing punch, encompassing a rich atmosphere with a very solid piece of ambient electronic music. An attack of the orchestral drum, the massive sound here familiarizes you with that grandiose almost video game-like/motion picture style.
Subtle helicopter effect chaperon nicely on top of engaging sounds with noticeable futurist textures, where the soft symphonic choir and keyboard melody coalesce and paint a portrait in your mind. This quite effectively gives you a sense of desolation and beauty. But, not to pigeon-hole it too much into complete meaning, compositions like these, they tend to fit the mold of stories and this one very much like finding solace in some dreadful aftermath. Being well-formed and quite angelical sounding as it moves along, Age of Solace is masterfully crafted, delicate, mournful and totally worth a listen.
If I could pick a modern track to play as the background music in the first level of the old Echo the Dolphin Sega Mega Drive game, this would be Ashen. Let me explain; there are some sounds that I can only describe as an electric dolphin, and this tune draws out some powerful emotions. Both of these things made me think of that little pixelated character from my childhood.
There’s a siren-like vocalization that carries through the track, blurring seamlessly with the music but rising and falling with this complex mixture of despair and hope. This music track also has a sense of movement, of carrying you along to some discovery that you must make. I could imagine it playing under the credits of a show or movie that really wanted to make you reflect on the things you had seen. Quite obviously, I also don’t think this track would be out of place as background music for an emotional scene in a video game or movie.
As the song begins, it opens up slowly and the ambient music is mellow and methodic – almost teasing you delicately. After a few seconds of play, the tranquil vibe introduces slow and consistent pacing that’s a welcome transition from the usual upbeat house music thumping. With its silky and steady tones, the track can offer mental clarity and serve as the perfect mood music for a desert oasis or weekend yoga retreat. As each note invites you in, perhaps you’re sipping tea among the Bedouins in a darkly lit tent in Marrakech. Or, maybe you’re relaxing in comfy, oversized pillows in a Zen lounge in New York’s West Village.
This music would also be welcoming in an office setting if you’re working late and want to stir up your creative juices. With the right balance of ambient mystery and relaxation, Halcyon would be a welcoming complement to any playlist. Play the track again and listen as the singer’s voice sets the mood gently in your ears and slows down your breathing seductively. It’s her addictively soft lulling that invites you in again – wherever you are in the world.
Night Watch establishes a percussive, up-beat, scramble and dash constituent. It’s very captivating, grandiose, colorful and arctic. Ambient pads play over what could qualify as goatskin drums and have this piece moving in a circulatory structure, of which you’re likely to get a sense of impending singularity or haste. But, not necessarily to pigeonhole the way something sounds, though it may sound like this or that, each composition takes on a breath of its own.
A track like this surely could lend itself to you a sense of urgency or contemplation, sustaining very much in quality and sonority, Sci-Fi film or video game music if you’d like, something that could fit perfectly in a segment of a story. Tension is there as is much beauty!
A sleepy symphonic voice fits this introductory-friendly piece quite intricately, as swirls of a kind of spacey liquid and obscure aerial sound skirt around big open spaces. You really do get a sense of deep space ambient music here. Eternal Damnation does a very good job of executing this tense yet relaxed vibe in that range of sound, for it’s gargantuan in scope and even precarious at times, A pulsation sets into a halcyon field of resonance, drawing mystery in tone and somewhat momentum.
These soundscapes merge calmly yet you feel like you are left to your own devices in some black abyss. This is actually quite brilliant as it can pose as something placid, eerie or as you could make up our own term as something like “scary-calm”, you’re just likely to imagine ships undocking at some uncharted satellite where the stars may have gone faint. Possibly you are being surveyed from afar by some enemy alliance. Warships may be approaching but there’s still time to prepare. The track really is telling, eternal sounding in its own way and these are just a few examples to throw out there.
Tribal percussion, epic sound, upfront, and piercing is Northern Light shaping along in an exciting direction, a diehard main sequence taking you into more shadowy territory. You will notice that it comes on tactile and overall stunning! It’s a catchy ambient piece altogether where thunder adds a much-attributed quality to the rhythm and mood giving you that somber listening experience.
It becomes apparent that it’s relaxing, nifty, almost Darwinian, it’s like it could keep looping and continuously build on its own in some capacity. Although there could be a lot more going on with it in terms of variation and movement, typically it feels moody, stormy, creative and well crafted, it would also be a great track to put on when you’re driving around at night. Very nocturnal and beautifully strange.
As the first few notes of this song play, the concept of Arabian Oasis doesn’t strike you straight away. But give the song just a few seconds, and the music can create an image so clear your creative juices will be overflowing.
The music starts soft, then there’s a gentle build-up to a beat that definitely conjures up a scene of camels bobbing and walking to an almost mystical oasis. The sound that you barely noticed at first is now distinctly the wind blowing over the shifting sands, and those little light sparkling notes will leave you picturing the stars twinkling in the night sky. If you’re looking for some background music that would fit perfectly as ambient audio for a desert scene, especially in a science fiction game with a futuristic element to it, this is the track for you. With its mystical feel, this track would also complement any show discussing mysterious events, particularly those associated with the deserts of the world. I could also see myself using this track as some ambient music while writing to help inspire those desert night scenes.
Take Me Away brings a calming and a quite stellar introduction here. The words “Take me away” are sung beautifully in this gorgeous little track, female vocals remain concomitant with a notable key arrangement, ever so complementary and natural sounding.
The rest is very well structured, swirling warm synth-pads are almost scenic in their mastering and don’t lend us any acrobatics, but gives a genuine, breathe easy, sit back, unwind, get lost in the troposphere of it all type of sensory feeling. Thunder adds an interesting touch with the piano and vocals combined, it brings a kind of erotic feel into the fold. You’d think it tells a story.
A prevalent highlight to consistent and ambient music is Highway Star. The introduction imparts itself picturesque, quickly fading in and building up into something lush and beautiful. Warm and almost retro-sounding pads blanket over in a harmonious and cohesive way, and then transition out to a tinging-whistled almost crying-like melody, nowhere out of place, and it actually doesn’t sound too bad at all. These colorful dynamics give the track a vast and dreamy characteristic like an undiscovered world before yoU, hitting you with all this mystery, eye-widening, vivid, surreal but allowing you the listener to create your own narrative.
You soon come to discover there are no inhibitions in this slow-moving short piece, that could serve as an introduction track or interlude to some Sci-Fi plethora. There is a sense of nocturnal warmth infused with this sort of relaxation friendly music. It doesn’t come across too elementary either.
Hathor showcases a little more pulse and fun that really makes up the bulk of the track set aside from shimmering soundscapes or anything alien for the matter. What you hear is an electronic compositional sound that feels a lot more up close and punchy. The recording doesn’t feel so lonesome with a solid beat as such, chill reverb, maintaining a typical relaxed atmosphere, yet less sleepy in its boisterous synth notes and chords.
All in all cool vibe, nice variations of upfront and background sound, like a dance groove, a true banger at that. While it sort of sticks to one lane, fewer thematics in the fold, stronger it seems in rhythm and pace, casting a wider net being more straight forward Downtempo Electronica driven. It is definitely one of the easiest to get into and carries a certain hue of its own, with a bouncy synthesizer, trip-hoppy meaty ambient characteristic, gain-control and volume being not overbearing just more impactful for the listener, it thumps, it slams with a little sharper sound and without being necessarily shrill.
For a track called Christmas Elves, you could be forgiven for wondering where the bells are. This is not a track filled with jolliness and merriment. There is a sense of wonder carried with every note, and it could be used as background music in many interesting projects.
From the opening notes, that provide an almost comfortable cold darkness, you are transported to another world, a world with magic in the air. The piano piece draws you into this sense of walking along, or peeking inside things, always going forwards. This track builds anticipation like there is a discovery just about to be made.
Christmas Elves would make a fantastic track to play as background music for a video looking at the wonders of the universe. It would also fit well underneath the opening scene of a game or movie that was looking to draw the user in quickly. It could work quite well as a backing track to a guided meditation.
I Will Always Dream is a psychedelic sound pallet, consistent and blissful, a high peak of what you’d consider atmospheric where female vocals sing “am I a dream?” without seeming frequent, forceful or upfront. The vocals sound far away and closely create this moody undercurrent in a quixotic playground, with subtle-nocturnal forest sounds that are ultimately taking over, and as it all circulates around, reminiscent it is a bit of “Carbon-based lifeforms – Contaminated area” not necessarily melodically or rhythmically, but in a certain feel and direction in that ambient vein.
The high-pitched distant vocals are aesthetically satisfying as well, glistening layers feel really alien and strange, smooth and spacey and without changing the overall vibe. Though there may not be a lot of variation here, the track brings a successful attempt to sounding most dreamy.
Autumn Elegy is an excellent piece of stock music that starts off so soft it’s almost not there, and then this strong beat comes in, like determined footsteps carrying you up the side of a mountain. The light vocalization that wafts over the music makes you feel like lifting your gaze up towards something or over something. It introduces this vastness and openness that would make this track useful for so many projects. The track has got a real warmth and upbeat sound to it.
The little rhythm that plays throughout brings with it an element of grandness and inspiration. This track would also make a great choice for background music that would fit very well as an intro to a travel vlog or podcast.
A sense of unity accompanies the sung words “I found you” in this zenith of production, wonderfully constructed, soft and seraphic. The sound of Genesis has character and is likened to hang in the background but intended to have a subtle effect on the listener. Female vocals and bright swells on this give the sensation of floating. It does feel like a conscious attempt to a hypnotic gentleness, bright walls of string, even though there may not be a strong component in your face so to say, it is a bit cerebral in places.
Dazzling brightness imbues this piece with sedating pads, swishing properties, Stradivarius-like high notes lend a scenic overview of wooing, relief, and enchantment. Lower pitched rumbles enter, and a mild bassy taction hums nicely into the equation, all maintaining clarity and synchronicity with the sounds. Background noises are persistent and take on an easy-listening experience as the rest of the elements glisten over.
Sharp, bright and divine is the track Signs, an excellent warm soundscape with no percussion but a concise and pumping, muffled bassline, running cohesively throughout in a relaxed synth pad infused atmosphere. Irresistible are those high-sharp tinging notes with a well-balanced echo, painting the landscape before you, and similarly to Gershon Kingsley “Popcorn”, or Aphex Twin’s “Ageispolis” not melodically the same but auditorily like cousins, for these aesthetics of ambient seem to share something special in that sonic vein.
It is a type of atmosphere that makes you feel like you’re somewhere high up in some snowy alps, a helicopter docked somewhere in the mountain. I think Signs accomplishes this picture quite well, and the bassline seems to encompass some chillout/electronica vibes.
Away From Home is a little royalty-free music track that is pure cinematic gold. There is an almost James Bond sound to it, from the first, nearly symphonic notes, and the rising sultry vocals, this track builds a sense of darkness and drama. It’s exactly the sort of music you could picture playing in the background as the hero is in that climactic moment where they realize the gravity of their situation, come to terms with what they have to do, and/or acknowledge just how far they have come from the beginning of the story.
There’s a little light tone that adds an element of hope and purity to the track that provides a sense of looking forward. It seems a little too large for many projects. Still, it is definitely an inspirational and awe-inspiring piece of stock music.
An underground tunnel-like feel to Harvest of Innocence kicks into your imagination, familiar to your ears until piano keys relax the mood a bit further, lending you a sense of innocence and calm. An electrical tone dawdles, phosphorescent, nothing odd or out of place but sonorous, extensive with long underlying textures to contour the atmosphere admirably so. You also notice the sound of water, some rings, buzzing, swooshing and bunker-like hits in the track, all copacetic, not invasive in any sense of the meaning but keeping distance. On that note, nothing in the mix is pushed too far back, nothing is penetrating or haunting but illusive-calm, almost subterranean.
You can appreciate the tinkering that went into this ambient contribution, sonically long-standing, patient and still. It definitely leans in that direction of diving deep and creating a mood where the noise passages amp up the futuristic Sci-Fi propulsion, something many of these tracks are consistent with, whether they work as small portions, full-length tracks, interludes, introductions, etc. This particular listen establishes itself as a signature piece quite well.
The Jungle is a truly phenomenal arrangement. This is a really fun track, awe-inspiring, catchy, cool and simply breathtaking. It sounds like a really awesome level or a film sequence with a lot of action. You’d almost expect the drums to get louder or something to get closer, but it is punching you with adventure and overall, it is quite an engaging listen.
If you’re familiar with old games like Turok, one may consider this piece a close cousin to fit that particular soundtrack world (although it’s a bit old-school). The harmonies are commendable here, the synth layers are quite fresh, have no gimmick and plot along nicely giving you almost some picture of a huntress, chaser or trapper on the hustle.
City of Titans has this sense of size and enormity, with its open-ended notes reaching for something, just like skyscrapers towering above a city. The synth sounds bring about that feeling of lights zipping past you, and the music takes you on a journey to discover something new. There are these regular deeper little notes that add a dramatic flair that adds some impact and almost a sense of urgency to the track. You can quite easily imagine it playing in a sweeping opening shot while the title cards are playing, or as a dramatic touch underneath the end credits.
This track would also work very well as a piece of music playing behind a video regarding a serious science subject, like information regarding a virus outbreak.
Continuing further along with this cutting-edge soundtrack music, Land of The Lost, a darker, more supernatural sonic specimen, helps you to see the imagery in your head quite clearly just as it sounds. A kind of Draconian monologue brings out the creepiness in this interesting use of samples and textures. This teeth-gnashing, haunting largeness would be a great conduit to some motion picture scenario like a young heroine sneaking around the outskirts of some hellish war planet. At times it also sounds like something is rising from a lake, feasting upon something, a pipe is leaking or a hunter is being hunted.
It’s very gripping, thick, alien, factory sounding and spectral. These soundscapes would perfectly soundtrack a vintage Sci-Fi film, without a clear melody, it hammers you with intensity and madness in a most satisfying listen.
Tribal drum hits and percussive taps lend this piece a natural draw, serene and novel with every listen. This, also sounding quite relaxed, holds familiar pleasantness to one’s ears. Natural sounding percussion executes the atmosphere quite vividly, followed by these cerebral background swirls of calm with synthy arpeggios that almost encompass a brightness about it as a whole. House of Wisdom occupies a certain spot in the ambient music realm, a standout climate, a sense of arrival or travel to some faraway destiny, and it sustains a tangible rhythm, more a fantastical style and a bit less of a computerized element at play throughout.
Smoothly painting a portrait in your mind is this outpour of smooth-on-the-ear feminine vocals in the instrumentation, posing to be the track’s greatest asset. The vocal work here simply elevates the track and takes you deeper into this spectacular odyssey.
A quiet beat is noticeable in this warm padding of sound, soon alongside more apparent percussive dynamics at play in the mix. There’s more to it that animates the landscape, like that of an intergalactic forest, swirling noises, Sci-Fi-esque effects escorting calm layers in this colossal sound. They simply blanket over without compromising quality as the fruitfulness of the vocal work permeates your very being.
The instrumentation and effects can all be heard quite clearly and metrical. Nothing seems to overpower anything else but flow very cohesive and gracefully. This is the elegance of Unworldly, superb, uplifting and celestial sounding.
The introduction is a pretty sounding one, but one word comes to mind after a full listen. Enchanting! This lovely piece neighbor melodic drips in impressive forest soundscapes, without necessarily being too loud, quiet or boring for the matter. A kind of dizzy pad alongside a dreamy flute delves deeper into a warm midsection which leaves the track impressionable for any listener.
Futuristic effects maneuver in and out clearly, and there is a quixotic feel to the atmosphere, the pace, and musical fluidity building into something amazing although cut a bit short. Walk Beyond the Blue Mist will take you by surprise in its mellowness and effectiveness.
Embodying that ominous sound with a quality synth and bassline that really shine all the way through is Winter. Some singing vocals are apparent and instrumental. If it had a more prominent beat, it would almost be something you could dance to. You could probably dance to it either way. It is a classic sounding ambient electronic piece, chilling winds, nothing at all you would call pretentious, a bit dreamy and arctic in its characteristics.
The accent of icy chime and ringing elements are subtle in range, well in flexibility, even fading in backward, but echo easy on the ears which is a remarkable achievement. Exquisite tranquility at its finest.
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