Can we all take a minute to appreciate the way video games have evolved music to be this variable, changing thing, depending on if you are going loud or stealthy, and that artists and musicians have found a way to create a cohesive, well structured song that can shift between the 2 states based on random gameplay, and it STILL sound kick ass throughout? Being able to basically make like, an underlying track that is the quiet/subtle/stealth flavor of music, but have that, in the larger, louder song, basically be the bridge part of the track, where the chaotic elements settle down for a few measures, before picking back up again? So that while playing you just sense the shift, but musically, it sounds like a structured song that had a planned rising/falling action in the tempo/instrumentation? That's just fucking sick to me, how cool that is. How the music is being framed that way. 🤙
BRO I think its absolutely bonkers how brilliant this game's soundtrack is structured. I feel most people that play the game don't realize how fucking awesome that is. To have different variations of the same track but still manage to make the theme fit must take a incredible amount of effort and talent. IMO the producers don't get enough credit to how they absolutely nailed the music/ambiance of this game and Cyberpunk Edgerunners. I know if they do the sequel's soundtrack they will kill it again. No question.
Ikr? All the moments, drama, action, suspicion, everything in this and other great games, are four times better because of these masterpieces that are made by composers like P.T Adamczyk. These soundtracks: Gate K9, The Rebel Path, The Heist, Force Projection, I'm a Netrunner, Never Looking Back, Test of Loyalty, PL Main (Credits) Theme, Never Fade Away, Chippin in, Scavengers etc. Every and each one of them are perfectly made for that specific moments. I played main story 3 times (and PL 5 times) already and I had music volume 100% where voice was at 80% and SFX 60% and I could tell the music was following every moment. Sometimes I would attack NCPD or random gangs both for action and incredible soundtrack. And Johnny's Arisaka fight flashback was sick! The rebel path is his and the music makes you more powerful as Silverhand, than random fights as maxed out V. Also you should let Johnny take the wheel (Or fight alone) in the last mission if you haven't already, if you want to feel the real power of The Rebel Path and Johnny's psyche in V's body combined. That is music power my friends.
I think they've been using 'stems' to ensure a track is chill or intense for as long as it needs to be, and ends right when it needs to end since the Halo 1 days. Doom 2016's soundtrack was another masterful example of this kind of technique. it makes game soundtracks hard to put into album form, but as long as it S L A P S in-game idgaf
You haven't lived until you do this mission with a throwing knives-Sandevistan-Kerenzikov build. This banger playing while escaping with So Mi and throwing head shots with a knife against soldiers with military grade weapons the whole way down made V feel like the most terrifying human ever to have existed. Literally made a separate save just so I can practice perfecting that run because I was having that much fun.
I know I am kinda not that original but I think that you definitely want to try the same soundtrack while siding with Reed as a netrunner. 2:51 that was the part where I literally was anxious. Just imagine that probably one of the most powerful and vile entities vent loose breaking the whole stadium apart, and you’ve managed to make it your enemy. Ah, and a whole stadium full of Barghest soldiers. And that feeling when you have to sneak by those soldiers while witnessing a mess that So Mi did to most of them… Man, that was awesome. And all that just to meet Hansen in the end of the road and to have a showdown mano a mano.
@@harveymomentYep. "You forced her into a gilded cage, clipped her wings, made her sing her song for you... ripped out the parts of her that were human, and replaced them to suit your needs.... I'll be damned if I will EVER give her back to you. Even if that means I have to take out every last one of you." is the imagery this song evokes when it ramps up to me.
I remember discovering you can fast travel out of the stadium with Songbird during Firestarter so this (including every time there was combat) was the nonstop theme no matter where I was lol
Most of the time playing games i dont notice the music playing. But this time it was different. Perfectly matched to the hardcore fight at the spaceport.
Betraying Reed felt so good. I only wish I could give the same treatment to other two characters I hate. Max from Life is Strange and Ellie from the last of us 2. I hate both of them.
Well, in NUSA hands she will be again a pawn but yeah, it's better give her to Reed rather to Blue Eyes because we basically are giving her to a Rogue AI or something else misterious who can pretty much fuck around everyone with her as weapon
Sending her to the moon is way better. She gets better and sends you a post card, the spy lady from moth also survives and gets to go on retirement. Reed finally makes up his mind (from a bullet lodged in his cranium) and Myers gets rekt
@@nathangordon4891 oh damn I mistook the postcard from Alex as her's so sorry, but she does send you a souvenir from the moon. If she returned to Myers they would turn her into blackwall maintenance slave
PT Adamczyk - Contra la Luna (Killing the Moon Version): th-cam.com/video/KCWvlQo4XJw/w-d-xo.html&lc=Ugynz2uIqm2yT74XWE94AaABAg
That tribal chanting is just the fucking cherry on top.
Can we all take a minute to appreciate the way video games have evolved music to be this variable, changing thing, depending on if you are going loud or stealthy, and that artists and musicians have found a way to create a cohesive, well structured song that can shift between the 2 states based on random gameplay, and it STILL sound kick ass throughout? Being able to basically make like, an underlying track that is the quiet/subtle/stealth flavor of music, but have that, in the larger, louder song, basically be the bridge part of the track, where the chaotic elements settle down for a few measures, before picking back up again? So that while playing you just sense the shift, but musically, it sounds like a structured song that had a planned rising/falling action in the tempo/instrumentation?
That's just fucking sick to me, how cool that is. How the music is being framed that way.
🤙
BRO I think its absolutely bonkers how brilliant this game's soundtrack is structured. I feel most people that play the game don't realize how fucking awesome that is. To have different variations of the same track but still manage to make the theme fit must take a incredible amount of effort and talent. IMO the producers don't get enough credit to how they absolutely nailed the music/ambiance of this game and Cyberpunk Edgerunners. I know if they do the sequel's soundtrack they will kill it again. No question.
Ikr?
All the moments, drama, action, suspicion, everything in this and other great games, are four times better because of these masterpieces that are made by composers like P.T Adamczyk.
These soundtracks: Gate K9, The Rebel Path, The Heist, Force Projection, I'm a Netrunner, Never Looking Back, Test of Loyalty, PL Main (Credits) Theme, Never Fade Away, Chippin in, Scavengers etc.
Every and each one of them are perfectly made for that specific moments.
I played main story 3 times (and PL 5 times) already and I had music volume 100% where voice was at 80% and SFX 60% and I could tell the music was following every moment.
Sometimes I would attack NCPD or random gangs both for action and incredible soundtrack.
And Johnny's Arisaka fight flashback was sick! The rebel path is his and the music makes you more powerful as Silverhand, than random fights as maxed out V.
Also you should let Johnny take the wheel (Or fight alone) in the last mission if you haven't already, if you want to feel the real power of The Rebel Path and Johnny's psyche in V's body combined.
That is music power my friends.
I think they've been using 'stems' to ensure a track is chill or intense for as long as it needs to be, and ends right when it needs to end since the Halo 1 days.
Doom 2016's soundtrack was another masterful example of this kind of technique. it makes game soundtracks hard to put into album form, but as long as it S L A P S in-game idgaf
I've never heard a song say "here comes the consequences of your actions" so bluntly before this right here.
You haven't lived until you do this mission with a throwing knives-Sandevistan-Kerenzikov build. This banger playing while escaping with So Mi and throwing head shots with a knife against soldiers with military grade weapons the whole way down made V feel like the most terrifying human ever to have existed.
Literally made a separate save just so I can practice perfecting that run because I was having that much fun.
I know I am kinda not that original but I think that you definitely want to try the same soundtrack while siding with Reed as a netrunner. 2:51 that was the part where I literally was anxious. Just imagine that probably one of the most powerful and vile entities vent loose breaking the whole stadium apart, and you’ve managed to make it your enemy. Ah, and a whole stadium full of Barghest soldiers. And that feeling when you have to sneak by those soldiers while witnessing a mess that So Mi did to most of them… Man, that was awesome. And all that just to meet Hansen in the end of the road and to have a showdown mano a mano.
when you side with reed and try to ice song bird and this hits like omg it was like this is not good at all
It hits WAY different when you side with Songbird. Makes you feel like a badass.
When you betray Reed and entire stadium goes haywire and this hits like omg it was like this is so god damn good
@@MuseHijinks facts, it was like fuck the world we're doing it our way
bro, if you sided with reed it sounded like a serious misjudgment, too bad they locked some good gear on that path…and some nice missions too.
@@harveymomentYep. "You forced her into a gilded cage, clipped her wings, made her sing her song for you... ripped out the parts of her that were human, and replaced them to suit your needs.... I'll be damned if I will EVER give her back to you. Even if that means I have to take out every last one of you." is the imagery this song evokes when it ramps up to me.
"Kurt...we have a problem."
Adam Smasher boss fight 😴😴😴
Kurt Hansen boss fight 😈🔪🔥
Phantom Liberty shows how incredible CDPR can be with their games, given *TIME.*
I wish they had the time for all the cut content.
They were given a bit 9ver a goddamn decade. Rememver the Melissa Rory trailer in 2012?
@@vendetta3941 Remember Witcher 3 that came out in 2015 and effectively halted cyberpunk's development for a few years?
I usually prefer silent/stealth approaches to things....but the way this song fucking kicks when you go loud.......damn.
GUNS OUT BLAZIN' BABY!
The moment you realize there is a cyberpsycho scarier then maine
Yes, his name is V xD
@@Korelon7 I was talking about Song bird but okay
@@attackontitanfollower we know. but V is just V.
Been looking everywhere for this song since I beat the DLC thanks
Now beat something else. Not your meat.
"Reed, they're giving us the slip!"
That buildup is so nice, thanks for uploading
I remember discovering you can fast travel out of the stadium with Songbird during Firestarter so this (including every time there was combat) was the nonstop theme no matter where I was lol
Me who just want to side with barghest and guard the main door with my turret homies...
Bro every time I pass by them while stealing cars for El Capitan it's a vibe.
I hope CyberMP comes to open beta sooner, maybe next year..... i'd like to guard the stadium aswell lmao
This Soundtrack is a Banger. Killer of Everything. LOVE IT
Have faith CD Red knows what they are doing
3:36 is when the magic happens, you're welcome
Most of the time playing games i dont notice the music playing. But this time it was different. Perfectly matched to the hardcore fight at the spaceport.
Wait, it’s not from spaceport
at the spaceport contra la luna is playing. this is from the stadium
Make the full version of the Contra la Luna (Killing the Moon theme).
here: th-cam.com/video/KCWvlQo4XJw/w-d-xo.html&lc=Ugynz2uIqm2yT74XWE94AaABAg
If you side with songbird she's going to help you with the crystal palace heist. Mark my words
Katana build + this fucking song... Bro I just came
Los que entendieron el void 👀:
Betraying Reed felt so good. I only wish I could give the same treatment to other two characters I hate. Max from Life is Strange and Ellie from the last of us 2. I hate both of them.
Вэш
Honestly, siding with reed and giving songbird to the NUSA is better than giving it to Blue Eyes and make him use songbird as a pawn.
I feel like killing her is honestly the kindest thing to do
Well, in NUSA hands she will be again a pawn but yeah, it's better give her to Reed rather to Blue Eyes because we basically are giving her to a Rogue AI or something else misterious who can pretty much fuck around everyone with her as weapon
Sending her to the moon is way better. She gets better and sends you a post card, the spy lady from moth also survives and gets to go on retirement. Reed finally makes up his mind (from a bullet lodged in his cranium) and Myers gets rekt
@@Men_dra ‘she gets better’
How do we know that? If blue eyes has her she’s gonna be turned into a puppet just like the Peralez’s
@@nathangordon4891 oh damn I mistook the postcard from Alex as her's so sorry, but she does send you a souvenir from the moon. If she returned to Myers they would turn her into blackwall maintenance slave
This would play if I ever would ever could fight against Ellie from the last of us. I hate her so much.
как же плохо это звучит. почему нельзя нормально записать звук
Стоит почистить уши, или купить наушники дороже 100 долларов, тогда и звучать будет топово))