When I have down time, I like to create imaginary scores that experiment with new palettes and techniques. Each collection represents a suite of songs in a unified palette and should follow a loose narrative arc. Below, you can stream individual tracks as well as browse the scores by small descriptions. If you would like to download one, email me at info@martincrane.net for access to an online database If it's up here, it has not been used and can be molded to what you need.


Drones - This is a series of ambient beds. Pretty self-explanatory and innocuous. These lean towards more organic textures that have a kind of earthiness to them which I like.


Percolate - This began as drum soundtrack meant for a long chase. Midway through I stumbled upon the main theme which blew me over, so I had to follow that. I made an over the top mock up of an orchestral version of it just because the melody can hold that grand a scale. The other tracks lean more towards rhythm. I love how Johnny Greenwood creates percussive songs that feel lilting and menacing at the same time. The rhythm hits are off the beat. It’s as if each hit is like a sneak attack even when you expect it. I used a proprietary effect I designed to stack melodic layers of percussion, trumpet, and sampler instruments I created. 


Holland TunnelThis is a dark, driving soundtrack for a documentary. I wanted it to feel at home in an Alex Gibney movie. Action in docs can be tricky because, with the exception of vérité docs, language is the primary vehicle of the action. How do you communicate that drama without overpowering it? I think this one keeps it suspenseful and low key. The more percussion based tunes are toward the end, but Holland 3 hits that magic, cerebral sweet spot.


Maximal - This is a modern, sweeping orchestral score inspired by hollywood action movies. It’s closest to Hans Zimmer in texture and size, but it has a different harmonic sensibility. I think of Hans Zimmer as a brutalist version of minimalism. His textures are monumental and his harmony is forceful in its simplicity. Current action sequences are so visually complex that there really isn’t that much room for melody. Though this is a large sounding, expensive score, it could be rerecorded with a smaller string section, as the rest of the sounds are custom sampler instruments I designed.


Windy Suite - I called this windy because it is a straightforward score using clarinet, cello, and piano that reminds me of Chicago architecture for some reason - austere and elegant and maybe a little bit conservative. 


Woodsy - This is my take on a comforting, domestic story. The palette is acoustic guitar run through a proprietary effect I designed I’m calling The Chutes that makes the familiar sound feel more modern. There is now a whole tradition of indie dramas that use acoustic textures as a way of communicating an unrefined authenticity, and as it’s entered the film vocabulary, it’s lost its meaning. This is my attempt to make that sound feel vital again. 


Public School - This is a batch of more avant-garde style tracks I made for the MoMA PS1 documentaries that didn’t make the final cuts. I used a proprietary device I call the chutes to chop up audio into unrecognizable patterns. This score has a dark, eerie tone to it. 


Solo Piano - These are, you guessed it, solo piano pieces. I start almost all my harmonic writing on piano because it focuses attention on the fundamentals. There’s nothing to hide behind. And once the melody and harmony arrive, translating them to other textures always makes for a pleasant surprise. These can be rerecorded and adjusted as well as moved to other textures. I love Gonzales’ record “Solo Piano” (hence the title). 


Droplets - This is my version of a more textural horror score. I used a proprietary effect I call The Chutes as well as another one I designed to get a menacing, microtonal drone. I also digitally transcribed the a rhythmic bursts of fireworks as well as parabolic curves and ran them through a sequencer. There are some throwback 80’s synth sounds that echo the palettes of the currently popping off new arthouse horror like Stranger Things and It Follows.


Misc - This is a collection of miscellaneous tracks I've had floating around for a while. Many are more pop leaning, but there are some cool soundtrack palettes as well. I've got quite a large backlog of beats from some of my producing gigs, so I'm always down to go the pop route if that's what's called for.