Musorshchiki then continues in much the same dramatic vein for another few aggressively imposing minutes before the quiet ambience returns in Close Probing and There’s Gonna Be A Parade!, with cold electronics setting a rather creepy mood in the former track, and sweeping synth notes bringing a Vangelis-esque Blade Runner-y tone to the table in the latter. This building stylistic idea then fully comes to fruition in the particularly in-your-face Wushu Dolls, with loud electronics and distorted synth practically breaking your speakers for two and a half minutes of loud action.
#Cyberpunk 2077 soundtrack series
Outsider No More and Cloudy Day then continue the series with their own sets and styles of quiet synth and pensive electronic instruments, though the latter cue does start to liven up a bit with aggressive beats in its final minute. Leonard-Morgan then takes the lead in The Streets Are Long-Ass Gutters, the first cue in a series of gently atmospheric setpieces that not only set a particularly relaxing mood, but also allow you to really take in the awe-inspiring ambience of Night City, the game’s gigantic cyberpunky skyscraper-heavy setting. Adamczyk respectively, in that order – and while each composer certainly has their own recognisable style, all the cues worked rather well together, which is a feat not easily achieved with three composers all working on the same project, so props there too. I should point out as well actually that those first three tracks were scored by Marcin Przybyłowicz, Paul Leonard-Morgan and P.T.
Cyberpunk so far has got the first part of that nailed for sure, though it remains to be seen whether the score will be stylistically intriguing enough to stand on its own unique two feet. So far, it’s difficult not to draw musical comparisons to that of Vangelis’ or Benjamin Wallfisch/Hans Zimmer’s Blade Runner scores as they’re also of a similar soundtrack calibre (not to mention having similar settings) – grim, moody ambience with no themes per-se, but cues so rich in atmosphere and style that themes are almost not really needed. The loud synthy beats then return in The Rebel Path, dialing up the score into rapid action-esque territory for a few loudly upbeat and fast-paced minutes.
Extraction Action then moves into more ambient territory, utilising quiet synth and dark, grimy-sounding electronics for five minutes of atmospheric (presumably) backing score. Deep, ominous synth notes take centre stage, underscored by some near-distorted electronics and a quietly dramatic electric guitar for the first minute before a short crescendo is then reached and loud beats join the fray – turning the mood from quietly ominous to loudly epic for the cue’s back half. The score begins with V, a two and a half minute thematic setpiece for the main character that overall sets quite a harsh, electronics-based tone for Cyberpunk 2077. So let’s not dither around any longer, and jump straight in. Adamczyk and comes in at just over two hours and thirty seven tracks long.
#Cyberpunk 2077 soundtrack for free
This album under review today was released for free alongside the game (props there), is a collaborative effort between composers Marcin Przybyłowicz, Paul Leonard-Morgan and P.T. The highly anticipated open-world adventure Cyberpunk 2077 has finally arrived a game complete with a spellbindingly beautiful dystopian setting, intriguing sound design to match and – naturally – a rather futuristic-sounding score.
The score for the long-awaited Cyberpunk 2077 features a number of unique, interesting and highly enjoyable musical styles, ranging from sweeping Blade Runner-esque synth to loudly dramatic EDM action, though this considerable variety does come with the unfortunate caveat of a disappointing lack of core stylistic indentity for the score overall.
0 kommentar(er)
