Great background soundtrack. Atmospheric music and sound effects. Great for Arabian Nights type settings or for exotic locations. I've used it for several different settings to great effect.

Most of my gaming acompaniment is stuff from classic operas of big film scores. But this one I bought on association with the excellent fantasy craft game, and it has worked its way in alongside its better known peers at adding a mody feel to the villains of my game. Well done!

I don't know what I'd use this for, as it is not really suitable for the ambience of a haunted house. It's more like the ambience of a haunted house full of dumb teens partying before they discover the horrible thing that caused the house to be considered "haunted", but it''s too loud and busy to suggest the atmosphere of a haunted house. More like Wednesday and Pugsley Addams grew up to be ravers than an investigation into a creepy house of fear and nightmares.

Decent music. I was curious as to what it would be, so I purchased a copy, and am glad I did. The music is very mysterious and intriguing. There's a bit of a Japanese anime riff or feel in some parts. All in all a good piece of music that might add ambiance to your space RPG session.

Sound loop is good but it's only one track with a length of 10 minutes. Still the one file is good and atmospheric and it may blend into your Zombie Survival Horror game playlist perfectly. But it would do even better if it where split up in several tracks. Of course this would mean a higher price, which would be totally fine imho.

For a single track it is very nicely made and a welcome addition to any GM's sound library. This particular track reminds me of the "Castlevania" series of games and transitions nicely between musical phrases. While not cheaply priced at $2.99 for a single track it is priced resonably for a track of 9 minutes and 6 seconds.

I like both parts of this track a good bit, both the lighter sound in the first six minutes and the heavier, guitar-driven two minutes at the end. Both do a good job of evoking a (post)modern, technological, maybe even jacked-in setting. The track loops fairly well, though there is a second or two of silence at the end that you’ll want to trim. The problem is that the two parts of the piece don’t flow together well. The transition between the two parts is fairly abrupt, and the two segments don’t feel the same. I would use the first six minutes for something like a race against time, perhaps while the PCs are being chased or are trying to extract information from a computer system under a strict time limit; the last two minutes would do for a combat or action scene—but I wouldn’t switch the two. The overall effect is fine when you’re just listening for pleasure, but would disrupt an RPG session, I think.

The heavy, ominous music in this substantial track well befits the “dark ritual” mentioned in the track’s title. There is a recurring baritone/bass vocal overlay that sounds like somebody chanting an incomprehensible ritual, and I think this works well. However, I think the other vocal gibbering detracts from the piece. Otherwise, it’s a decent score for when the PCs are trying to stop an eldritch ritual in progress—or to complete one before it’s too late. I can only say “decent,” not “good” or better, because there’s such a long lead-in before you get to the actual ritual sounds. That creates a big lull in the action while looping, though iTunes and other jukebox software will let you start and stop the track anywhere so you can customize the loop.

It takes almost two minutes and a big explosion before this track actually gets to the “battle” as such. Once it does, the music is quick and tense, fitting for scoring a space battle. A few laser beam and explosion sound effects crop up, but they don’t overpower the music, and drums rather than explosion sounds give the sense of impact. A few bars here and there reminded me of the music that plays in Disneyland’s Space Mountain ride. About halfway through, xylophones and vintage (read: ’60s–’70s) bleeping control panel sound effects take us briefly inside the ship. While the battle is raging, the music is very exciting and would work well for a gaming background, if you don’t mind the control panel sounds. As of my download, the track ships with 30 seconds of silence at the end, so you’ll need to trim it with a program that edits MP3s or use your jukebox program to set the endpoint earlier (in iTunes, choose File: Get Info, click the Options tab, and change the Stop Time from 9:22.337 to 8:52.337). The track’s bigger problem, though, is that two-minute warmup that I mentioned earlier, matched by a rather abrupt ten-second cool-down at the end. Even after you trim off the extra silence, the track doesn’t loop very well, so unless you can wrap up your entire space battle in about six minutes, you’re going to get some “down time” in your soundtrack—time that is just too peaceful for a space battle. This track would be more useful without that “prologue.”

The style and tone of this piece perfectly capture the feel of a “spaghetti western,” and it’s a lot of fun to listen to. The simple, bouncing piano melody and vocal effects belong inside a saloon or dance hall, where this piece spends most of its time. You’ll probably get the best use from this track if you approach it from that perspective. You wouldn’t want to score a gunfight or any other tense situation with this piece, at it’s far too lighthearted, and almost humorous. Also, I think this piece may have too much of a “storyline” of its own to work well as background music (though it’s a fun listen regardless), but that’s probably a matter of taste.

There’s a lot of cool, mysterious stuff in this piece, but the “tinny” high-pitched notes that carry the “melody” more or less ruin the track for me. The piece does loop well, though, for DMs with a higher tolerance for the “soprano” line.

I like this piece a lot … but it doesn’t fit its ostensible purpose very well. There’s really too much of a definite beginning and ending, too much emotional variety, too much of a storyline within the piece, for it to score RPG scenes well. During RPG play, you can’t predict when the waves will swell, when the crew drunk will come on board, when an enemy boarding party with threaten. For gaming background music, this piece might not be repetitive enough. I have used it in actual gaming situations, however, and it didn’t seem too disruptive. On the other hand, it’s a great listen by itself, like a whole pirate movie in just 8.5 minutes.

Music and sound effects blend very nicely in this piece to evoke the titular village inn. Some of the laughter and vocal effects may be just a little overpowering. In my ears, the music feels like a soundtrack; it’s too “thickly” orchestrated, I think, to be music that’s actually playing at the village inn in-story.

This track will take you through a number of different musical styles, from spacy electronica to rock and roll to lounge jazz. You were expecting creepy, due to the name “Haunted House”? The sounds of wind and indistinct voices—possibly moans or cries—try to inject this into the piece, but the sound effects aren’t enough to turn basically non-creepy music into a scary experience. I wouldn’t use this track to score an exploration of a haunted house. But that doesn’t mean I wouldn’t use it; I just think the name and the music are mismatched. I’d use this track instead to score something like a night of investigation or patrol up and down the Las Vegas strip or a similar setting. Even here, though, the dramatic changes in mood, genre, and (especially) volume make this track less well suited to continuous looping under an RPG scene, unless the scene just happened to play out in a way that exactly corresponds to the music’s rises and falls.

This track definitely hits the target on both the “creepy” and “carnivalesque” scales. Composer Randin Graves deserves a giant teddy bear from the midway for getting the atmosphere just right. He’s also cleverly engineered the track so that it both ends well and loops well, a good accomplishment with this piece. However, the shifts in tone and mood take you from the bright lights of the midway and the rides to the dark shadows behind the attractions and perhaps inside the freakshows. While this makes for a great listen and evokes the carnival mood exceedingly well, it also detracts from the track’s usefulness at the table. These variations make it hard to know what kind of scene to score with this piece.