Retro cinematic intergalactic trailer cue with an epic espionage twist. It starts with a dark, murky portishead - like vibe that is reminiscent of James Bond, Mission Impossible, The Avengers and 50s, 60s and 70s spy music. It drops into a driving trip hop groove that builds into a crescendo featuring heavy guitar, orchestral strings and mellotron. A very unique and cool track that will really make your project stand out with a unique identity. It's a cool, retro, psychedelic, shagtastic mix of austin powers meets 007 and get smart.
Track details
| Track ID number: | 14043 |
|---|---|
| Genres: | Film & Soundtrack: Introspective / Thoughtful / Reflective underscores -- Film & Soundtrack: Investigative / Analyzing / Evaluating / Clues / Mysterious underscores -- Film & Soundtrack: Spy / Undercover Agent / Espionage underscores |
| Moods/Emotions: | Gloomy / Dark / Sinister -- Reflective / Thoughtful / Introspective -- Mysterious / Mystical / Secretive |
| Suggested Production Types: | Forensics / Investigative -- Historical / Retro: 1970's -- Historical / Retro: 1960's -- Historical / Retro: 1950's -- Spy / Agent / Police Ops |
| Prominent Instruments: | Bass (Electric) -- Drums (Drum Kit) -- Guitar (Electric) -- String Section |
| Keywords / Hints: | detective, espionage, stakeout, trailer, epic, spy, secret agent, avengers, james bond, get smart, la femme nikita, intelligence, mission impossible, secret service, shadow, assassin, conspiracy, 24, CSI, NCIS, lost, crime, undercover, under cover, bulletproof, scifi, syfy, sic fi, science fiction |
| Tempo feel: | Slow |
| Tempo Beats Per Minute: | 70 |
| Artist: | Justin Crosby |
| Composer: | Justin Crosby (ASCAP - CAE#: 605760653) |
| Publisher: | Lynne Publishing (PRS - CAE#: 541626758) |
| SRCO (Sound Recording Copyright Owner): | Justin Crosby |
| PRO / Non-PRO Track? | PRO (What's this?) |
| WAV file bit depth: | CD-quality / 16-bit (What's this?) |
| Stem files available for this track: | No |
| Album containing this track: | (None) |
Justin Crosby
Justin Crosby's professional career began in 1993 when he joined Caroline Records recording artists, Drop Nineteens (1993-1995) as their lead guitarist. Drop Nineteens were one of a few US-based bands who styled themselves on England's distinctive shoegazer sound, taking their inspiration from the genre's most celebrated icons, My Bloody Valentine. The band would ultimately lead the UK Indie Album and Singles charts with formal releases after signing a record deal. Signing to Caroline Records (label home to Smashing Pumpkins, Hole and others), Drop Nineteens immediately garnered college radio airplay with their 1992 debut album, Delaware. The group embarked on several European and domestic tours. In his career with Drop Nineteens, Crosby performed in Switzerland, England, Scotland and across the US and Canada. The "Nineteens" led a 2 week tour of the US as Blur's supporting band, shared the stage with Radiohead, Flaming Lips and Mazzy Star at England's Reading Festival and headlined Lollapalooza's second stage in 1993.
Since his career with Drop Nineteens, Crosby's music has been featured on networks such as showtime, cbs, pbs and bbc as well as regional TV and film from Australia, to Sweden, to Japan. His unique percussive programming can be heard throughout the silent hill 8 soundtrack, and from 2010 to 2012 he was the music supervisor and in house composer at Shapemix, a mobile remixing app for the IOS platform. He is a graduate of Massachusetts College of Art & Design's Studio For Inter-related Media program where he graduated with academic distinction.
Said Justin:
"I find inspiration in so many places. I've come to understand music is often like life. We tend to want to look for those "big" moments to find meaning in our lives, but so often the most important moments are those small, seemingly unimportant events; time with your family, a warm conversation with a friend or loved one.
I find some of the most profound music consists of the simplest ideas. There is an amazing art in using restraint when composing music. Some of the greatest composers are masters of this restraint, and make the "grandest" themes out of only a few motes. I can only hope to one day achieve an understanding of the mastery of using the fewest, and most meaningful strokes of my musical brush."