Split into two parts the second part begins after V1 exits Tower A. This song has 3 layers of drums: the original MIDI drums, amen breaks added on top, and electronic kick and snare added to give more weight to the original drum patterns. Beethoven's Moonlight Sonata was another candidate for the theme of 1-4, but Hakita decided against it due to the composition's ubiquity. An audible page turn can be heard around the 2:17 mark. The recording of "Clair de Lune" heard in ULTRAKILL is performed by Laurens Goedhart. Hakita identifies it as a turning point in finding ULTRAKILL's musical identity, shifting greater focus towards melody and chord progression. This song is an homage to the musical tropes of the Castlevania series. Some of these drones are also identifiable in the earlier 2016 track " What the Sea Left Behind", from the same album as "The Abyssal". The song is made up of various ambient synth drones, all from a 2016 song called " She Slept on a Bed of Flowers", from the same album as "A Thousand Greetings". The song is rather loud and harsh, living up to its title. Progresses once V1 enters the lower floor. This song was made exclusively using samples from "A Thousand Greetings", Amen break drum samples, and a sine wave for bass.Ī Complete and Utter Destruction of the Sensesġst part begins when V1 exits the second floor with the Blue Skull. The soundtrack release uses the full song, since Hakita likes how it flows with the rest of the album. In-game it plays at 33% speed, but for the soundtrack release it plays at half-speed due to sounding better in isolation.ġ-2: Plays until V1 begins leaving the second floor with the Blue Skull.Ī section of a 2016 piece titled " A Thousand Greetings #2", by redherring. The intro is the main part of the song, slowed and pitched down. The guitar hits are reused from " Threnody for a Mockingbird", by Heaven Pierce Her. The full loop can be listened to here, and its unused combat loop counterpart can be listened to here.įirst part plays until entering the Cerberus Arena progresses once Cerberus awakens.Ĭerberus is the very first song Hakita composed for ULTRAKILL, and can be heard in his very first dev video.Īs aforementioned, this track samples a low-quality wax recording of "Mars, the Bringer of War" from Gustav Holst's Planets Suite. Though one of the riffs is often compared to " At Doom's Gate" from the Doom soundtrack, the similarity is purely coincidental.Īn early version of this track's calm loop plays in the soundtrack version's intro. The full unused bass version can be listened to here. The slow-paced, bass-heavy segment in the soundtrack release originates from early experiments where the soundtrack adapted to the weapon in use, which was scrapped for interrupting tempo and combat intensity. The clip is sourced from a later track, " Cerberus", which used to play in the earliest version of ULTRAKILL's intro. The title drop stinger samples a chord from an old, low-quality recording of "Mars, the Bringer of War" from Gustav Holst's Planets Suite. Parts of "Maw" were also used in the intro of " Threnody for a Mockingbird", by Heaven Pierce Her. The tutorial ambience is an unreleased 2016 dark ambient track called "Maw", by Hakita. Second section while approaching the Piercer Arena.įourth section plays through the rest of the level.Ġ-3: Fourth section plays throughout the mission. It was then reused for the main menu as a placeholder in a later demo version, though it ended up fitting well enough that Hakita decided to keep it.Ġ-1: Different parts play in different sections. Originally used only for the intro, to contrast the chaos of the game with a slow, delicate start. Though the clip is the finale of its original album, it instead is the opener for ULTRAKILL's soundtrack. This song originates from the end of " The Fire Is Gone, and I Remember It Best: The Closing" by redherring, another musical alias of Hakita's. Released on Bandcamp and YouTube September 11, 2020. This album makes up the music of ULTRAKILL's Prelude as well as most of the music in ULTRAKILL Act I.
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