Track Details

Marauding Masses 2 - 11 mixes

  1. Play
    Marauding Masses 1216/1 Terry Devine-King (PRS)
    Mighty, intimidating full orchestra. Martial & unrelenting
    3:21
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21601
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  2. Play
    Marauding Masses 2 1216/8 Terry Devine-King (PRS)
    Large, tense orchestra. Fewer big drums
    3:21
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21608
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  3. Play
    Marauding Masses 3 1216/9 Terry Devine-King (PRS)
    Tense orchestral underscore. No brass
    2:47
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21609
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  4. Play
    Marauding Masses 4 1216/10 Terry Devine-King (PRS)
    Tense orchestral underscore. Basses, cellos & snare
    2:07
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21610
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  5. Play
    Marauding Masses 5 1216/11 Terry Devine-King (PRS)
    Tense orchestral underscore. Basses & orchestral bass drum
    1:12
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21611
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  6. 0:42
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21612
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  7. 0:08
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21613
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  8. 0:07
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21614
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  9. Play
    Marauding Masses 9 (Sting) 1216/15 Terry Devine-King (PRS)
    Large orchestral sting/stab. Single hit
    0:07
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21615
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  10. Play
    1:14
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21649
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  11. Play
    Marauding Masses 11 1216/50 Terry Devine-King (PRS)
    Mighty, intimidating full orchestra. Martial & unrelenting. Trailer
    1:19
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    • Tempo NotesFast
    • ISRCGB-FFM-07-21650
    • PublisherAudio Network Limited
    • Release Year2007
    FactoidThe term Blockbuster comes from the 1950s cinema industry where the success of a movie was judged by the length of the queue for tickets. A Blockbuster queue went for more than a block.
  1. Play
    All To Play For 1500/1 7 mixes Terry Devine-King (PRS)
    Tense, pulsing orchestra with epic rock drums & effects
    3:11
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  2. Play
    Breath Of The Dark 1500/10 4 mixes Tim Garland (PRS)
    Menacing, pagan orchestral strings building with drums & brass
    2:03
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  3. Play
    Danger Factor 1299/17 1 mixes Debbie Wiseman (PRS)
    Threatening low orchestra builds with breathless scariness
    1:28
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  4. Play
    Dark Surge 1393/3 8 mixes Nick Ingman (PRS) | Terry Devine-King (PRS)
    Wild, ominous & dark orchestra & choir. Entirely over the top
    2:04
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  5. Play
    Escape 1407/10 1 mixes Luke Richards (PRS)
    Suspense filled orchestral thriller with blaring brass & rapid strings
    2:42
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  6. Play
    Ferro Ignique 2 1536/84 15 mixes Igor Dvorkin (PRS) | Duncan Pittock (PRS) | Ellie Kidd (PRS)
    Anxious percussion with tense orchestra. No choir
    1:40
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  7. Play
    Final Duel 2426/8 18 mixes Chris Egan (PRS) | Jon Bourne (PRS)
    Action packed orchestra with hard hitting percussion & electronics
    3:07
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  8. Play
    Fireball 1763/1 23 mixes Terry Devine-King (PRS)
    Violently building orchestra, choir & percussion
    2:30
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  9. Play
    Galactic Battle 1937/3 7 mixes Terry Devine-King (PRS)
    Dramatic, urgent orchestral. Whopping drums. A musical hard hat area
    1:46
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  10. Play
    Galactic Mission 2483/1 19 mixes Paul Mottram (PRS)
    Mysterious, epic orchestra builds with choir to huge, triumphant end
    3:03
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  11. Play
    Galaxy 2062/2 9 mixes Terry Devine-King (PRS)
    Gradually building strings into epic orchestra with soaring choir
    2:31
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  12. Play
    Gemini 1763/2 12 mixes Terry Devine-King (PRS)
    Fast strings with martial percussion into epic, heroic orchestral tune
    1:32
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  13. Play
    Horns Of War 2305/2 11 mixes James Brett (PRS/BMI)
    Dramatic tribal battle action with hostile brass, ethnic percussion & choir
    5:01
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  14. Play
    Olympus 1763/4 22 mixes Terry Devine-King (PRS)
    Dramatic build from menacing to heroic. Orchestra & electronics
    3:17
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  15. Play
    Prime Directive 2800/1 23 mixes Mark Petrie (ASCAP) | Cody Still (BMI)
    Menacing, action-packed orchestra, electronics & percussion
    2:15
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  16. Play
    Rise Of The Mechs 1464/7 6 mixes Dan Skinner (PRS) | Adam Skinner (PRS)
    Mechanical martial orchestral horror with heavy military percussion. Builds
    3:21
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  17. Play
    Solar Storm 1600/6 11 mixes Terry Devine-King (PRS)
    Restless, imposing orchestral
    2:38
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  18. Play
    Stampede And Hunt 2734/6 11 mixes James Brett (PRS/BMI)
    Menacing, dramatic orchestra with urgent strings & ethnic percussion
    2:25
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  19. Play
    Storming the Armoury 1339/1 13 mixes Christopher Ashmore (PRS) | Benjamin Marks (PRS)
    Explosive industrial synths & drums with cinematic marcato strings
    2:55
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  20. Play
    Take Action 2707/2 10 mixes Joe Kraemer (BMI)
    Thrilling & tense orchestral action with bombastic brass
    2:23
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  21. Play
    Unstoppable Force 2453/1 22 mixes Paul Mottram (PRS)
    Tense building war-like orchestra with powerful relentless ostinato rhythm
    4:10
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  22. Play
    White Dwarf 1762/2 16 mixes Terry Devine-King (PRS)
    Epic orchestral building with threatening percussion & choir
    3:35
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