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The first game had relatively more subdued music than the rest of the series. Most tracks, however, were deemed worthy to be reused for the second game (the following links are for the re-arranged versions):
- Fiji. This was used for Roger and Alex in the sequel. So awesome that it got remixed for Tekken Tag Tournament 2, more than 15 years later!
- Kyoto, Japan. This was used for Ganryu in the sequel. Bonus points for its awesome title: "All Things Are in Flux and Nothing is Permanent".
- Monument Valley, USA. This was used for Armor King in the sequel. One of the most unsettling BGMs you're likely to ever hear in a fighting game, it really does evoke the feeling of being stranded in the middle of the desert and fearing for your life. The title? "Here is the Point of No Return".
- King George Island, Antarctica. This was used for Anna in the sequel, even though her stage is the Taj Mahal, India. A really soothing song that fits perfectly the serene beauty of snow. The title: "Almost Frozen".
- Chicago, USA. This was used for Lee in the sequel. A pretty fun jazzy sounding number, that fits the city quite nicely. The title: "It Makes Me Higher".
- Venezia/Venice, Italy. The only stage BGM NOT used in the sequel. Suits the beauty and grandeur of the city of canals. The title is "Surprising Truth".
The early games were ripe with awesome music, as par for Namco games in the 1990's.
- The character select theme. It lets you know that things have taken a turn for the worse since the first game. If that doesn't suit you, then chances are that the more lively arranged version used for the PlayStation port will.
- Black Winter Night Sky, the opening theme to the second game. See Memetic Mutation.
- Jun's theme, Morning Field. The stage it plays on is a beautiful grass clearing, and the music adds to its relaxing effect.
- King's theme, Ring A Bell. The music starts on a grand note as though introducing the atmosphere of a church, before transitioning into fast-paced techno as the fight continues.
- Paul's theme, Paul's Miracle Death Fist. A great mix of funk and electronic music.
- Yoshimitsu's theme, Head Shaker. The soundtrack captures the atmosphere of fighting in the middle of a thick forest; haunting and beautiful all at the same time.
- Baek's theme, Eastern Dance. Unique among the mid-boss themes as the only one not taken from Tekken 1.
- Kazuya's theme, "Emotionless Passion". Japanese guitars, percussions, and electronic sounds all combine to make for an intense soundtrack as you fight the boss of the game. Even now, many still consider it the best piece of stage music in the entire series, particularly the arrange version for the console release.
- Devil Kazuya's and Angel's theme, "Be In The Mirror". The song features a more downtempo rendition of the main melody of "Emotionless Passion" as you confront the True Final Boss, the Devil residing in Kazuya (or Angel if you're playing as Devil).
- Nobody Catch Me, Michelle's theme. Despite the Engrishy title, it's both energetic and relaxing, resulting in pure awesome.
- Landscape Under the Ghost -KAMINANO-, the Ending theme. One of the singers eventually went on to voice Asuka starting in 5.
Tekken 3 began featuring more rock and electronic music compared to the first two games. It also introduced a few of the composers who would go on to make the most iconic soundtracks of the series, including Nobuyoshi "sanodg" Sano and Keiichi Okabe.
- The hidden characters theme is great to rock out to. Julia's theme in the PS1 version is based on it. Composed by Nobuyoshi Sano.
- Forest Law's Theme doesn't sound like all that but gets better the farther it goes.
- Jin's theme (by Keiichi Okabe) is another solid rock piece.
- Nina's theme (by Keiichi Okabe) is an awesome bass guitar-driven track.
- Paul's theme is a nice rock song that keeps you on your toes with its seemingly discordant rhythms. Composed by Nobuyoshi Sano.
- Kuma's and Panda's theme (composed by Keiichi Okabe) is probably one of the most criminally overlooked tracks in the entire series.
- Mokujin's theme (courtesy of Nobuyoshi Sano) is driven mainly by one bass line looping throughout the entire track. Bonus points for incorporating some actual wood sounds into the loop! It also happens to be a "wooden" remix of Yoshimitsu's theme, which is an awesome track in its own right!
- The two console-exclusive secret characters actually have awesome themes of their own. Unlike the other soundtracks, a different composer (Minamo Takahashi) made these tracks, but they still manage to fit with the rest of the album.
- Ogre and True Ogre's theme. Usually split into their individual parts, the song is actually better off as one complete track. There's a bridge which plays once Ogre is defeated, which denotes his transformation into True Ogre. The same composer (Nobuyoshi Sano, or sanodg) would later go on to use the same technique in Tekken Tag Tournament 2 for Jun and Unknown.
- Ling Xiaoyu's theme is a lot tougher-sounding than you'd expect.
- Tiger Jackson's theme is more rock-influenced than disco, but still makes for an awesome song.
- Eddy Gordo's theme. A nice, funky guitar melody set to a groovy electronic beat; perfect for the series' first Dance Battler.
Tekken Tag Tournament
This soundtrack ventured more into a more techno/electronic theme, with a lot of the tracks incorporating vocoder sounds. This album also marks the introduction of Akitaka Tohyama and Yuu Miyake, two more of the series' most notable composers. On a sadder note, this was also the final game Nobuyoshi "sanodg" Sano worked on before he left the Namco Sound Team.
- Yoshimitsu's theme by Nobuyoshi "sanodg" Sano — probably the closest a song from the soundtrack came to having distinct lyrics until Tekken 5's console opening theme.
- Ogre's theme, by Keiichi Okabe, sounds perfect for a ritual for a deity like Ogre himself.
- Hwoarang's theme, also by Keiichi Okabe, is a very fast-paced jungle-dnb song, and is quite fitting for an unbeaten taekwondo fighter.
- Paul should be proud to have the most rocking theme song in the game, courtesy of Akitaka Tohyama.
- Nina's theme, also by Tohyama, is nothing to sneeze at either.
- Unknown's theme (by Keiichi Okabe), which for some reason is one of the most maligned tracks in the Tekken soundtrack.
- The Opening theme, courtesy of Akitaka Tohyama. Some loyal fans of the series will probably recognize Tekken Tag Tournament 2's console opening theme as a remix of this very track.
- The Staff Roll is the most distinct piece in the OST, and absolutely beautiful.
Tekken 4 has a very underrated soundtrack, especially for the series itself. It also features probably the most diverse soundtrack in terms of genre, venturing from trance, electronic, rock, to world music, among others. Comparatively, it's notably slower and calmer than other soundtracks, rather fitting the transition from the quick, high energy fights of 3 to the slightly slower, more technical battles of 4. A new composer was introduced in this game as well: Satoru Kosakinote .
- A Fist for a Fist, the console opening movie theme, accompanies the triumphant return of Kazuya Mishima into the series canon.
- Touch and Go is a favorite.
- Authentic Sky is a very calming soundtrack. Sadly not part of the soundtrack: this version of "Authentic Sky" includes a drum track which would play at the end of a match.
- Bit Crusher is an awesome electronic/jazz fusion track.
- The Inner Shrine, the Hon-maru track, is a calm yet intense tune, especially considering the Story Mode battles that take place here. It also stands out due to being the only song in the soundtrack made by a different composer, Hiroshi Okubo.
- The Strongest Iron Arena, the Arena theme, has a fitting "big fight feel" sound to it to match the MMA-esque octagonal cage Heihachi proclaims as the site for the King of Iron Fist 4 championship match.
This soundtrack featured more rock/nu-metal tracks, making for, if not universally appreciated, at least very memorable music.
- Sparking, the console opening theme. Notable for being the first song in the series which featured actual vocals.
- Three words: HALL OF FATE, it is so epic that it became one of the most listened within Dark Resurrection. Composed by Ryuichi Takada.
- Moonlit Wilderness. Easily one of the most atmospheric stages in the series, set in a serene grassy field outside an ancient castle lit only by a giant full moon and complemented with a mesmerizing theme to set the mood.
- Streets, the theme in the Acid Rain stage. On certain occasions, the game plays a remixed version of the theme, Street Wise (Asura Mix). Both were composed by Satoru Kosaki.
- Ground Zero Funk is perfect for the Mishimas. Also is a remix of a piece called the "Beatitudes" commonly attributed to Tomaso Albinoni. Composed by Kohta Takahashi.
- Formless Like Water, the theme for the waterfall stage. Surprisingly spiritual and ethereal, but with a heavy, funky bass beat. Estrada da Estrela, the remix from Dark Resurrection, is even better. Both courtesy of Akitaka Tohyama.
- Snow Castle by Masaru Shiina.
- Its predecessor, Antares, is also good. So good, in fact, that it was used as the theme for Soul of Devil Jin in Soul Calibur 5. Composed by Junichi Nakatsuru, who eventually became the musical director for Soul Calibur V.
- Massive Stunner, the song featured in the "Secret Garden" stage, is another memorable piece. Despite being one of the most fast-paced tracks in the series, it fits the stage's atmosphere surprisingly well.
- Stage 2 of Devil Within uses this wonderful techno track as its theme.
- The theme that plays whenever you face Jinpachi, The Finalizer, is hands down one of the best boss musics in Tekken history.
This soundtrack mixes the Genre-Busting soundtrack of Tekken 4 with the heavy metal and fast-paced music of Tekken 5. An ongoing theme among the songs seems to be a push-and-pull between clean, orchestral music, gritty, rough rock riffs and synthesized electronic sounds.
- Two against the darkness, the console opening movie theme. Even out of context, it's a very rousing track. Composed by Rio Hamamoto and Ryuichi Takada. The impressive thing about this track is how perfectly each musical phrase matches up with almost every scene in the opening movie itself. To break it down a bit: the military-sounding intro accompanies Jin briefing his Mishima Zaibatsu army (including Nina), which ends on a dissonant note as the scene shifts to Miguel carrying his dead sister and screaming in fury. Then the music quiets down to violins as Zafina makes her way to Azazel's temple, and a mournful horn section accompanies Leo laying flowers on her mother's grave. Suddenly the music shifts to heavy metal as Bob fights off bank robbers. The violins are emphasized as Asuka and Lili face each other, transitioning into hard metal riffs as Paul and Bryan are dueling. The imperial-sounding horns then alternate with the metal riffs as we see Kazuya fighting alongside his G Corporation men. Finally, the rousing climax of the soundtrack accompanies Zafina opening the temple and the shock on her face as Azazel awakens and starts to break free from his restraints.
- Yodeling in Meadow Hill the BGM of Hidden Retreat in Tekken 6 is seen by some as a bit too silly for a game like Tekken, but others think this song is AMAZING. Composed by Keiichi Okabe.
- G, the theme of Fallen Colony. This song actually had 3 versions, one for the Arcade version, a special 5.1 Surround Sound version mixed specially for the console versions, and the OST version, called the Blast Version. The link has all three of them mixed together, completing the song. Composed by Go Shiina.
- Edge of Spring, for the Mystical Forest stage. Very serene and peaceful. Composed by Keiichi Okabe.
- Ethno Evening, for Temple Grounds, also by Keiichi Okabe. The resonant operatic vocals alternate beautifully with the pounding drums and electronic melodies.
- Artificial Ruins, for Urban War Zone, by Satoru Kosaki. So good it was remixed for Street Fighter X Tekken.
- Fist Festival, for Fiesta del Tomate, the 2nd secret stage. Just as catchy as Hidden Retreat's theme. Composed by Shinji Hosoe.
- Blowin' Up the Enemy, for Gargoyle's Perch. A perfect theme befitting Jin's turn to villainy. Composed by Kazuhiro Nakamura.
Tekken Tag Tournament 2
Dubstep. Remixes of soundtracks from earlier Tekken games. Snoop Dogg.
- Tekken Tag Tournament Piano Into -Massive Mix- by Akitaka Tohyama. As mentioned above, a remix of the theme from the first Tekken Tag Tournament, more than 10 years earlier.
- The character select theme, "Aim to Win" (by Akitaka Tohyama), which is also the theme from the Christmas 2010 trailer that introduced Jaycee and the younger Heihachi. A lot of people consider this the best theme in the game...and it's just the CHARACTER SELECT.
- Dawn Of The Beat, the main menu music in the home version. The game hasn't even STARTED and it's already rocking face!
- Battle Cry, the Online Battle Lobby theme. Hypnotic and soothing. Composed by Taku Inoue.
- There are quite a few stages in the game that are revisions of older Tekken stages. As such, they also have remixed themes to go with them. Here are some examples:
- Moonlit Wilderness - D.T.O. Mix (by Satoru Kosaki), which is the updated take on Tekken 5's stage/theme. It's basically the "Moonlit Wilderness" track taken Up to 11, with the violins, pianos and most prominently the drums turned all the way up.
- Sakura Schoolyard - After School Mix, which updates Tekken Tag Tournament's School stage and theme. Composed by Nobuyoshi Sano.
- Jin Kazama - Far East Mix, which is a revision on Jin Kazama's Tekken 3 stage and theme. Composed by Keiichi Okabe.
- Fiji - Paraiso Mix, a remix of the Fiji stage theme from the very first Tekken. Doesn't get any more old school than that! Arranged by Yoshie Arakawanote .
- Snow Castle - Mundus Arrange, which is what you get when the original composer of the badass Winter Palace stage theme from Dark Resurrection (Masaru "Go" Shiina), takes inspiration from his work on God Eater Burst, transforms it into an even more badass version with full orchestra, and makes it sound like something straight out of Soul Calibur. Wow. Includes Ominous Latin Chanting.
- Fantastic Theater, the theme for the DLC stage Odeum of Illusion. An awesome (and insanely catchy) fusion of jazz/swing and Tekken-style techno. Composed by Keiichi Okabe and Keigo Hoashi.
- Mystic Force, the theme for the DLC stage Extravagant Underground. An amazing orchestral piece befitting a luxurious subway station in Russia. Also composed by Keiichi Okabe and Keigo Hoashi.
- The Big One, the theme for the DLC stage Moai Excavation. The OST version (the one linked) is called the "Quiet Strings Mix", and adds some violin sections that are not heard in the game version, which is called the "Corpse Kicker Mix". Composed by Yuu Miyake.
- Knocc 'em Down: what happens when Snoop Dogg meets Tekken. Made even sweeter by the appearances by respected fighting vets like Justin Wong, that this will play in Snoop's own stage and that apparently, the Doggfather's One of Us Tekkenites.
- As a special treat for the console version, the new Ending theme is a remix of Tekken 2's Ending theme, called Landscape Under the Ghost -KAMINANO- (AD2012). Sung again by Ryoko Shiraishi, now recognizable as the voice of Asuka Kazama.
- Your Sunset, the soothing and nostalgia-inducing customization theme. Yes, even the customization theme is outstanding. Composed by Taku Inoue.
- Tekstep Fountain, the Fontani di Trevi stage theme. When the Tekken composers decide to do Dubstep, they don't mess around - they make it AWESOME. Composed by Akitaka Tohyama.
- Abyss of Time, the Indonesia stage where a Wayang Kulit ("shadow puppet") stage is performed in the background. Abyss of Time is often compared to Tekken 6's Karma/Electric Fountain due to similar tunes, but what sells the song is the Indonesian woman's vocals. Composed by Akitaka Tohyama, who — not coincidentally — also composed the tracks "Karma" and "Hacked" from the Tekken 6 soundtrack, both of which closely resemble this track.
- Plucking Tulips, the Netherlands stage theme, is just as catchy, having become an iconic tune rather quickly in the fandom. Fun Fact: the game version, which has a shorter intro, is called "Plucking flower field". Composed by Akitaka Tohyama.
- What you will see, Jun's and Unknown's theme, a triumphant return from the series' original composer Nobuyoshi "sanodg" Sano. It is actually split into two parts: Heaven and Hell. The "Heaven" portion, used for the Heavenly Garden stage, starts as soft, gentle trance. But during the bridge it transitions into a Scare Chord before becoming the "Hell" portion, used for the Fallen Garden stage. This variant is pure, chaotic Dubstep.
- The Wii U version adds, as one of the Tekken Ball tracks, High School Love. It's an intentionally cheesy song, and an awesome and hilarious departure from the rest of the music in the game. Composed by Go Shiina.
- There are also three new remixes of Snow Castle added to the Wii U version, called the Dead Person remixes. Each one incorporates elements of certain themes affiliated with the character they represent: Devil Jin (Antares + Snow Castle), Jinpachi (Gold Rush + Tiamat + Conclusion + The Finalizer), and Ganryu (Quiet Interim Report + Formless Like Water + Estrada da Estrela). Composed and remixed by Go Shiina.
- IT'S NOT A TUNA! begins as a somewhat soothing mariachi tune. Then the record suddenly skips and the song becomes a pulse pounding schranz tune. When was the last time a video game actually had schranz techno in it?
- Baile de Batalla, the Fireworks Over Barcelona theme: An intense number fusing techno with Spanish music. This was so good that they used it during the Tekken 7 Reveal Trailer for Tekken's resident Badass Spaniard, Miguel, all while Miguel is delivering Badass Boasts and a No-Holds-Barred Beatdown against Jin Kazama out of revenge for his sister.
- The Wii U version of the game include a mode that involves collecting Mushrooms and Super Stars for power ups. In this mode, techno remixes of the Overworld theme, Underground theme and the Underwater theme from the first game can be heard, and they are AMAZING.
This game soundtrack is more reminiscent of that of the first Tag game, particularly the vocoder sounds and the industrial/electronic influences, mixed with a lot of dubstep. It's probably not that much of a stretch to assume that this would have been the soundtrack of TTT2 if not for the decision to remix the classic BGMs instead for that game.
- "New World Order", the main menu theme song, has a sense of melancholy to it, in contrast to Tag Tournament 2's main menu theme.
- "Blood, Sweat, and Fists", the character select theme is stupidly catchy.
- "Kodama Starship", the online menu theme, instills a feeling of hope.
- No Easy Way Out, the new theme of the Moai Excavation stage. An intense electronic track that sounds like it would fit well in a heist/thriller movie scene.
- Lunar fringe theories, the new Moonlit Wilderness theme. The track features serene vocal sounds set to a catchy electronic beat, which goes well with the setting of fighting inside the Moonlit Wilderness stage.
- Chopper, for Sakura Schoolyard. The song mixes slap-bass with dubstep for a good pulse-pounding soundtrack.
- Everlasting Heaven, for Eternal Paradise. Another good mix of dubstep, this time alternating with some acoustic guitar strumming.
- Francoise's Bassline, for Riverside Promenade. The song is clearly electronic, but brings more focus to the more softer sounds of guitar plucking and strumming.
- Self destruct, for Historic Town Square. The song builds up in intensity as the hard strumming of distorted electric guitars gets progressively louder.
- Q, the new Hall of Judgement theme, gives the stage a creepy sense of foreboding, in contrast to the "Jin Kazama" theme remix from TTT2.
- Night Rises, the Event theme. It's a simple but uplifting melody, which is also a very subtle Call-Back to the TTT2 credits theme, "Night Falls", which also features the same musical phrase in a different key.
Akitaka "AJURIKA" Tohyama, Taku Inoue, and Rio Hamamoto take over the audio direction for this game. The result is a mostly-techno, dubstep, and industrial-filled soundtrack. For the first time in the series, there are now alternate "match point" versions of the stage themes for when a player is one round away from winning the set.
- Ruin 65 1st, and Ruin 65 2nd, the themes for the Forgotten Realm stage, composed by Taku Inoue. The first song is mostly a drum-n-bass track interspersed with some Eastern-style percussions and horns, which fits well with the setting. The final round version goes all-out with the heavy electronic distortion while maintaining the same beat, emphasizing the urgency of the match coming to its conclusion.
- The day before the glass matrix 1st, the theme of the Twilight Conflict stage. Notable for being the only track in the game (2nd version notwithstanding) to be composed by original Tekken composer Nobuyoshi "sanodg" Sano. Also The day before the glass matrix 2nd, the final round version of the Twilight Conflict theme.
- Volcano 1st, the theme of the Devil's Pit stage, and Volcano 2nd, the final round version of the Devil's Pit theme. The initial track is a fast-paced piano and electronic track that builds up but only up to a point; while the final-round version amps up the tension with some haunting choirs as well as violins and electronic guitar riffs that keep up the pace.
- Kazumi's Theme. Exactly What It Says on the Tin. The theme of the final boss, Kazumi Mishima. Also Devil Kazumi, the final round version of Kazumi's Theme.
- VREDE, the theme of Lars. A metal number performed by Swedish band BatAAr. This is a secret final round theme which can only be accessed on the Twilight Conflict stage if Lars is one of the characters being played.
- "Hideaway 2nd", which was the original main theme for Duomo di Sirio (and originally before that the music used in Nina Williams's Fated Retribution trailer; it was removed from Duomo di Sirio starting with the pre-release builds that featured Eddy Gordo, Kuma, and Panda). While Duomo di Sirio would be more apt for a classically European-styled theme (and the final game's theme for the stage is more in line with this), this unique-sounding techno theme gives the stage an interesting atmosphere that contrasts the old-world stylings with a more modern touch. It was eventually re-used in the console's Story mode during a battle with Nina.
- Moonsiders 1st and Moonsiders 2nd, the themes for the console-only stage Infinite Azure. The first song goes very well with the relaxing setting, with light piano melodies set to a bouncy electronic beat. The final round version in turn speeds up the song and includes a lot of drum-n-bass distortions.
- Precipice of Fate 1st and Precipice of Fate 2nd, the themes for the stage named, well, Precipice of Fate. The first song has a slow buildup but heightens the tension right away once the song gets moving, and the final round version amps it up even further.
- Solitude, the console version's Menu music. Probably the best Menu music of the entire series; easing you into the game with a light, beautiful repeating piano melody while electronic beats and drums hold up the rhythm of the song.
- Midnight Closet, the game's Customization theme. Similar to the spirit of "Your Sunset" from the previous game, this is also a very relaxing song, this time featuring an electronic beat accompanied by funky guitars and synth melodies as the bass goes in and out.
- "Heat Haze Shadow 1st" and "Heat Haze Shadow 2nd" serve as climactic and blood-pumping drum-and-bass tunes within the depths of an active and raging volcano. And they are used to especially great effect for the first two phases of the final boss fight in Story Mode.
- Duomo di Sirio 1st, marking the return of God Eater composer Go Shiina to Tekken. On that note, the song itself is pure Epic Rocking, perfect for the home turf of Claudio, and even features parts reminiscent of "No Way Back". Duomo di Sirio 2nd replaces the Epic Rocking with a full-on orchestra.
- Desperate Struggle, the Final Boss theme for Story mode, is an intense and epic theme that fits Heihachi's last stand and final battle against Devil Kazuya like a glove.
- Soy Sauce for Geese -T7 ver.- (Howard Estate 2nd). Akuma may have missed out on getting a remix of his theme, but Geese certainly did not. This is perhaps the craziest-sounding version of his theme yet. Fast paced industrial rock with actual Japanese instruments.
- Apocalypsis Noctis - T7 ver.- (Hammerhead 2nd). As with Geese, Noctis gets a remix of his Leitmotif from Final Fantasy XV, taking the majestic orchestra and mixing it with ample amounts of rock, techno and acoustic guitars.