Hello everyone - I am a relatively new artist in the electronic music space. I've released a few singles over the last year and last week I released my first album as a solo artist "A Line in the Sand, a Missing Piece." The elevator pitch is that my material falls broadly into the IDM category with more focus on the melodic and structured side of the genre and less glitchy, rhythmic, and chaotic. A common thread throughout all of my material is ambience and moodiness.

Although the majority of my material can be described as "IDM," this track is most definitely a dark, meandering, and ambient composition.

I have download codes to pick the album up for free on Bandcamp on my website here: https://demodisc.link/ just click the button a couple times if the code you get is already redeemed :)

Spotify - https://open.spotify.com/artist/6Hf8qnQyIJtwLK65GvMtK7
Apple Music - https://music.apple.com/us/artist/demodisc/1803673308

Dead time, I need music to write dead time or preambles to important scenes, with a dark vibe (imagine Batman the animated series) Those moments of silence/instrumental/OST where the scene has no dialogue but you KNOW something is going to happen

Lowkey Robin’s Reckoning It has the perfect music, but I've listened to it on repeat so much and I want to try something new

An atmospheric preview track exploring the friction between the public facade (Tatemae) and inner psychological decay. Blends dark orchestral layers, deep sub-bass, and Japanese thematic elements.

Hi everyone,

I’m looking for an experienced composer who is available to start right away to create the original score for my independent psychological horror feature film, Daniel, the Goodboy.

The film is 1 hour and 26 minutes long and blends surrealism, magical realism and modern-day fantasy. It isn’t strictly a horror film, but it carries a dark, unsettling atmosphere.

I’m looking for music that feels timeless—something that doesn’t clearly belong to a particular decade or era. The score should work as a subtle but powerful layer beneath the film, flowing through the subconscious of the audience rather than constantly demanding their attention.

I have used ambient music as temp music because it captured the timeless quality I’m looking for, but the final score does not necessarily need to be ambient.

To explain the film, its musical direction and exactly what I’m looking for from a composer, I’ve created an instructional breakdown video:

https://www.youtube.com/watch?v=t51hP2UklPc

Absolutely no AI-generated music. Please do not apply if you use AI to create music. I cannot associate this project with AI-generated music.

I’m looking for someone who:

• Has experience composing music.
• Has a strong understanding of atmosphere and restraint.
• Can create music that feels timeless rather than noticeably contemporary.
• Communicates well and is open to working collaboratively.
• Can take feedback while also bringing their own artistic instincts to the film.
• Is available to begin working on the project soon.

Payment: After watching the breakdown video and understanding the scope of the project, please provide a quote for what you believe would be fair.

Timeline: I’m looking for someone who can start right away, but the overall timeline is flexible. I would like the score completed by January 1, 2027. Quality and finding the right person are more important to me than speed.

If you’re interested, please email me at [mrbearsproductions@gmail.com](mailto:mrbearsproductions@gmail.com) with:

• Examples of your previous work, if available.
• Your quote after watching the video.
• A little about your creative process and experience composing music.
• Your current availability.

Thanks!

Alex Ibarra
Writer and director of Daniel, the Goodboy

No AI

Listen to altherian... by Ev3rCuervo on #SoundCloud

https://on.soundcloud.com/xi6vCXEd1ecSPF6tkE

Ambient and melancholic classical work for choir, strings and synthesizers

representing a long series of lamentations.

bad willed influence'' is about the spirits of a deceased family willingly causing trouble for owners as they are lied to and made to feel guilty....

but.......

it is also an opportunity to experiment with ambient and rhythmic electronic instruments!

It's a lot of noise and drone and industrial atmospheric and I'm being both inspired by it and subconsciously it has talked to me from the beginning of David's work. My project isn't exactly what's in there in the show but in some of the files I made you have a darkness and unsettling feeling. I like to be in that, my brain can think better when it's pure evil. Hope you like it too

Hello! I just released "Al borde del abismo". In this record, I explore different techniques to create pieces of unease contemplation.

It is available on Bandcamp. In short, it will be in music streaming services and Youtube as well.

Hope you'll like it, cheers

I’ve been working on a dark ambient album built around the idea of exploring an abandoned spacecraft.

One thing I wanted to avoid was making it sound like a typical “space ambient” record, so I built a lot of the atmosphere from distorted modular recordings, mechanical noises and very long granular textures.

I’m curious how other people approach making something feel physically threatening without relying on obvious horror effects

I’m a 16-year-old producer from Chicago working as two of swords. My debut EP, a theory of silence, explores divided feeling through desire and fear, speaking and withholding, attachment and release.

The name two of swords comes from the tarot card, which I came to understand as a state of divided feeling held in restraint, where the desire to be loved is matched by an equally strong fear of surrender. I approached tarot as an interpretive practice, allowing several meanings to remain in tension rather than reducing the music to one explanation.

The six tracks form an emotional progression through closeness, distance, estrangement, release, and passage. At the center of the record is the idea that what remains unspoken between two people does not disappear but rather changes shape.

I wanted the music to leave enough room for you to bring your own experiences into it, arrive at interpretations of your own, and hopefully find something beautiful there.

This is my first collaboration with Axel Weiiß from Germany.

He has been my friend since I started 10 years ago!

He is a very actice musical artist who performs publicly playing different guitars-but he is also a wonderful painter-the image accompanying each of his tracks is generally one of his works as well!

We finally got together for a collaboration-and without further delay-get into the work and see if you can feel the touch of well rounded and balanced work

that is not only satisfying to the ears, but also a strong element of ambience and the beauty of the archaic-What sounds like bird songs was actually created with 1 synthesizer, blurring the lines between the realistic and the extended possibilities that sound processing offers sometimes:)

it was ny first album "Morning dusk at the swamp""

I included affectionately, the 3 only tracks remaining, because that album was always one of Axel's favorite. he very much enjoys miniaturized precision and such creativity, he was surprised I was also into that, and I was surprised that he is also into such ambient sounds:)

I hope you enjoy, it is with much honor and excitement that I present you:

Axel Weiß & James-Lee collaboration: "Ding an Sich"