“Delirium 2” features faraway vocals and a hushed swirling in the background, but “Harm Sweaty Pit” is aggressive and hard-hitting in the synth bass coming close to the aggression of industrial dancing as these bizarre sweeps of noise fling up like blades being scraped in a grand motion. The remaining four tracks are equally trance derived but with additions of ambient. The deep house/trance opener, “Pilling in My Head,” is carried by multiple two-beat rhythms, the central one, a bouncing bass on the off-beat and a clap sample on the on-beat, Kraviz singing languidly over a delicious oonce-oonce. 4 (released New Year’s Day, 2021) is basically a Nina Kraviz EP, as all tracks are her own. “Night City” by REL (Artemis Delta) is an anthemic ode to Cyberpunk’s city. “RATATA” by Baron Black & Auer (Baron Celine) is another electronic-inspired alt-reggae song that uses its onomatopoetical title in the chorus. It also may have sampled Ye’s iconic scream. Valin ‘ZEALE’ Zamerron (Code 137), the thick and crunchy, nonchalant rap that’s kind of corny in the hook is like a child’s idea of the coolest song they ever heard. 3 (released Christmas Day, 2020) opens with “Suicide” by Geno Lenardo feat. It juxtaposes the lighter, more frivolous tracks from the second volume and stands in the shadows beside its darker companion “On My Way to Hell” by Polish producer, Poloz (Tinnitus), which features a muffled club beat that gradually sharpens beneath a bed of fizzling fuzz. “Surprise Me, I’m Surprised Today” is heavy, bass-intensive and sophisticatedly produced in its restrained buildups that unfold while a classic one-two DJ beat pumps its path, and also makes another appearance as the bookend of Vol.
“Major Crimes” is similarly poppy, using the same tropes of beat drops and vocals in soprano, but it has more of a techno-grunge aspect to it through its refractory bass surges and an IDM-like scramble effect that sounds like a sped-up clip of an insect coiling into itself.Īnother notable track is one by Russian DJ Nina Kraviz (Bara Nova), whose other commissioned songs make up the whole of Vol.
Surprisingly it’s nothing special, but it does its job as filler. “Delicate Weapon” is slow and crackling with a steady, simplistic percussion and a constant oscillating note that ripple and overlap each other inside its echo chamber. Both are cemented in a pop framework injected with a surfeit of electronic tricks and stratagems. 18, 2020) features two of the entire soundtrack’s most prominent -“Delicate Weapon” by Grimes (Lizzy Wizzy) and “Major Crimes” by Health (Window Weather).
The electronic element is still firmly held in the reggae-adjacent “When It’s War” by Deadly Hunta & Maro Music (Footage Missing) but dropped in the hardcore “I Won’t Let You Go” by Converge (Shattered Void). Starting with a hip-hop track, the volume traverses into some electronic pop back to hip-hop while still holding onto the electronic element in “Metamorphosis” by Yugen Blakrok (Gorgon Madonna), a slow, rudimentary and eerie track that sets the stage for Blakrok’s lucid dissection of disorder. The duo alludes to fictional locations in the game while criticizing the system, both in-game and in real life it seems. 11, 2020) is “No Save Point” by Run the Jewels (Yankee and the Brave), one of the few anticipated singles. The very first song of the first volume (released Dec. All the songs off the serially-released four-volume soundtrack were made exclusively for the game and can be played diegetically (within the game world).
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