Robert Etoll Productions and Q-Factory Music, Famous for Producing Music for TV and Films Shares EDM Album
Q-Factory Music which is a division of Robert Etoll Productions specializes in licensing music for motion picture and television advertising. Etoll and his team has just released “Chemical Rage,” an “industrial, electronic, electro-rock style” creation that is geared towards Sci-Fi, Action, and Thriller movies. With roots in rock, Etoll’s production team of Robert Etoll, Enrico Cacace, and co-composer Tim Kelly have put together ten heavy tracks that capture the hardstyle electronic scene of present and future, with a twist. The album is not for sale but the tracks can be streamed through the website (along with their other music) at this link:
This album is enticing enough based on track titles alone. For example, there’s “Selenium Spasm,” “Arsenic Disorder,” “Boric Abuse,” and “Krypton Kraze” to name a few. Their previous album release electro-dubstep is equally compelling and intense. The dubstep is very epic, high energy, and heavy like Bassnectar, Skrillex, Borgore, Excision, Nero, or Atlanta’s Must Die! and MK Ultra!. Other music from Etoll can be purchased on iTunes or online like their album “Final Reckoning” which was released through Big Fish Digital in 2012. Enjoy.
Take a listen to the montage of the album below.
Sync Licensing Is A Whole Different Game Than Making Club Tracks
Robert Etoll Productions occupies a lane a lot of EDM fans don’t think about much: production music for trailers, commercials, and film/TV scoring, also known as sync licensing. It’s a completely different business model than dropping singles for streaming or club play. Tracks in this world are built to hit specific emotional beats on cue — tension, dread, a big reveal — so a music supervisor working on a sci-fi trailer or action sequence can drop them in and have them work instantly without needing custom composition. That’s exactly why “Chemical Rage” leans so hard into that “industrial, electronic, electro-rock” description right in its framing; it’s basically advertising its own use case.
What’s kind of cool about a project like this is that it blurs the line between “EDM artist” and “composer for hire” in a way that mirrors how a lot of working musicians actually make a living. Plenty of producers you’d recognize from club tracks also do sync work behind the scenes because it pays steadily and reaches audiences who’d never seek out a Beatport release. Etoll’s team building out a whole catalog of these mood-specific instrumental tracks, complete with genuinely fun titles like “Arsenic Disorder” and “Krypton Kraze,” shows a level of craft and range that goes beyond just making something loud and heavy — every track here has a job to do inside somebody else’s project.