Awesome Music / ULTRAKILL

if the doom ost makes you feel like you can 1v1 the sun,
the ultrakill ost makes you feel like you can oneshot it.

— This comment on the YouTube video for the Cyber Grind's music

For a game as absolutely bonkers as ULTRAKILL, an equally bonkers soundtrack is required, and Hakita delivers in spades.

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General

• To start things off, we have the title theme, "The Fire Is Gone (for Piano, Saxophone, and Trumpet)", a gentle, classical sounding piece that acts as a prelude for the absolute madness to come, and also as a wonderful way to soothe the senses when exiting the game after a lengthy play session. The completion of any of the secret levels^note Barring Prime Sanctums greets you with the much more somber music box rendition, which becomes even bleaker whilst reading the Testaments associated with it.
• "Take Care" is nothing more than a short sample of the Bob Causer and His Cornellians song "Were You Foolin'", but it's so catchy that it's bound to get stuck in your head not soon after your first few terminal stops.
• From guest artist Meganeko comes "The Cyber Grind", the theme of the titular survival mode, is an absolute blast to listen to from beginning to end. It seamlessly transitions between several genres of music, from drum n' bass, breakcore, and hardcore metal, each one ramping up the intensity as you strive for a high score. It's so iconic that it's considered by many to be the main theme of the game altogether.
• The Back to the Cyber Grind update introduces another guest track with HATEFUL, performed by American noise rock band HEALTH. While the aggressive, pounding synths already feel right at home with Ultrakill's high-octane soundtrack, the eerie and almost ethereal-sounding vocals courtesy of singer Jake Duzsik, along with lyrics speaking of hatred, deception and how they consume, set the track apart from the other two Cyber Grind tracks, giving the already-intense survival mode a whole different feel entirely.
  Who among you is crying out
  Hateful of all but lust?
  Who among you will die alone
  Wasteful of all our love?

Prelude and Act I: Infinite Hyperdeath

• The theme of 0-1 and 0-3, "Into The Fire", sets the standard for most songs in the game to follow; starting with a slow and ominous buildup in the intro portion of the song, before promptly welcoming in the meat and potatoes of the track with a mechanical screech that lies somewhere between Brown Note and satisfying ecstasy, before turning into pure, hectic, drum n' bass bliss, with many more Amen Breaks to follow.
• "Unstoppable Force", the theme of 0-2 and 0-4, starts off deceptively slow with a laid-back, funky bassline. Not even mere seconds later, the intensity kicks itself back into top gear as the backing guitar from "Into The Fire" comes back with a vengeance.
• "Cerberus", the theme of 0-5 and the first major boss theme in the game, acts as a firm welcome to your final obstacle(s) between you and the gates of Hell, being a slow, yet no doubt intense track that, combined with the fact that this was the first track composed for the game, sure leaves a lasting impression.
• After the industrial hellhouse that was Prelude, you take your first steps into Hell in its entirety, and what ends up greeting you is "A Thousand Greetings", the first song you'll hear upon stepping into Limbo for the very first time and the textbook definition of Dissonant Serenity. Despite how calming it sounds, the additional reverb that plays over it help give the idea that something is off.
• Not long after your first few minutes in Limbo, the carnage finally starts with the battle theme of 1-1, "A Shattered Illusion", finally revealing to you that this seemingly wonderful, beautiful place is nothing more than a visage made to drive sinners insane.
• Building on from that is the battle theme of 1-2, the aptly named "A Complete and Utter Destruction of The Senses". A deranged breakcore track full of off-beat notes and mechanical screeches that perfectly encapsulates the blazing hell brought on by the Streetcleaners before you.
• The theme of 1-3, "Castle Vein", as the name implies, is a DnB love letter to the music of the Castlevania series.
• After three levels of pure chaos in a land that doesn't really exist, 1-4 greets you with a beautiful rendition of Claude Debussy's "Clair de Lune"; the serenity of the piece, combined with the artificial night sky and empty mansion, provides a moment of respite after everything you have been through up until this point. However, it doesn't last long...
• "Versus", V2's theme, combines pulse-pounding drumbeats with rocking guitars and a smooth bass intro, perfect for a clash between two opponents of equal strength.
• "Cold Winds" acts as the desolate and ominous introduction to the doomed layer of Lust in stage 2-1, and what an introduction it is.
• 2-2 introduces you to "Requiem", which takes the ominous beat of "Cold Winds" and adds a beautiful MIDI violin on top of it, encapsulating the tragedy of the ghost town you're blitzing through to a T.
• The theme of 2-3, "Panic Betrayer" kicks the intensity and beats back up to eleven as Lust starts throwing out some of the deadlier waves of enemies you have faced up until this point.
• At the end of Lust, you are greeted with the theme of 2-4, as well as the battle theme of The Corpse of King Minos, "In The Presence of A King", a truly bleak track that provides plenty of eerie buildup as you walk through the tunnels of Lust before exploding into a truly horrifying Drone of Dread as you trade blows with the colossal Husk that stands before you.
• Finally, at the end of Act I, lies your final hurdle before the beginning of the end: The Gluttony layer, which is introduced with "Guts", a harrowing, slasher movie-esque synth piece that lays bare the absolute Body Horror before you. Midway through however, the synth picks up a pitch and the sheer terror brought upon by "Guts" swiftly turns into sheer determination as the heavy amen break beat and uneasy piano courtesy of "Glory" kicks in.
• As you take your first steps into 3-2, you are greeted by a foreboding Gregorian choir that seems to get louder and louder as you progress your way through the level. Eventually, a voice starts speaking out to you, as the choir fades out and into an absolutely glorious electric organ cover of Bach's "I call to you, Lord Jesus Christ". It is only there and then do you realize who exactly you'll be dealing with.
• Gabriel's first battle theme: "Divine Intervention". Whilst short, looping at only 48 seconds, is an undeniably epic piece fitting for one of the most powerful, deadly, and self-righteous foes you will face in your quest for blood.
• "Disgrace. Humiliation.", the ending theme of Act I, is a short music box track that laments Gabriel's pathetic state at the feet of the Council as a new hatred starts to burn within him.
• The theme of the Secret Level 1-S, "Sanctuary in The Garden of The Mind", is absolutely beautiful and fits perfectly for a Breather Level such as this.
• The theme of 2-S, "Sunshine", defies explanation. All that can really be said is that it starts off relatively cheery and upbeat before things take a strange turn.
• P-1 takes the cake with three songs that could arguably be considered some of Hakita's best musical work.
  • First off, we have "The Spinal Staircase", which serves as the intro music to the stage. What starts off as an uneasy recording of Maurice Depret's "Sourire d'Avril"^note Which can also be heard in the start of both 2-1 and 2-4, albeit incredibly slowed down. soon devolves into absolute horror as the song slowly turns into horrible, distorted static the further you descend down the titular staircase.
  • The theme of the Flesh Prison, "CHAOS", couldn't have a more fitting name. Having absolutely no sense of time signatures and consisting of nothing but wailing guitars and maniacal beats, a fight this chaotic deserves an equally chaotic track.
  • Finally, we have "ORDER", the theme of Minos Prime. What starts off with a beautiful violin solo turns into an intense DnB metal hybrid, topped of with a Dark Reprise of "Requiem", tying together an absolutely legendary piece that brings the heroism and tragedy of King Minos full circle. Couldn't be any more fitting for one of the hardest bosses in the game.

Act II: Imperfect Hatred

• "Dune Eternal", the theme of 4-1, adds some Egyptian flair to Hakita's signature style as you travel the sandy ruins of Greed.
• "Sands of Tide" ratchets up the intensity with a quicker tempo as well as a having a flute playing the main melody, cutting through the noise. A manic track befitting the hectic nature of 4-2.
• "Dancer in the Darkness" suits the tense atmosphere of 4-3's pyramid catacombs like a glove. While quiet compared to the rest of the soundtrack, it doesn't lose the energy associated with the rest. It's a quick-paced song consisting mostly of an ominous choir and thumping percussion. Eventually, everything crescendoes into a blaring, triumphant finale to serve as the backdrop for the level's last gauntlet of enemies.
• "Duel", the theme for V2's rematch in 4-4, is a glorious reprise of Versus, with a violin and choir adding even more energy to V2's already intense theme. A glorious sendoff for our fellow robotic rival.
• "Deep Blue", the theme of 5-1, is an almost calming melodic drum-and-bass track, with a muffled, echoey piano, low bass tone, synth choir and light percussion, as well as throwing in a goddamn sax solo between the choir. Even the combat track only adds in Hakita's breakbeats.
• "He is the Light in My Darkness", the theme of 5-2, starts as ambient storm noises throughout most of the level, even during combat. A tragic violin and acoustic guitar come in once you raise the boat, as you likely likely fight to acquire the red skull. The portion for The Ferryman's boss fight is suitably intense, adding in an electric organ and flute sample to furious breakbeats.
• "Death Odyssey", the theme of 5-3, is a bombastic track with a swashbuckling flair throughout, hitting the ground running and only dropping for some groovy interludes. However, after the boat flips, "Death Odyssey Aftermath" drops all the energy, leaving a bitter taste as you travel the ruined wreck of the Ferryman's boat.
• "The Abyss and the Serpent", the theme of The Leviathan, opens with the chimes of the bells associated with the Ferryman before transitioning to a distinctly orchestral soundtrack. The song's composition is meant to capture the terrifying grandeur of facing down the largest demon in the game thus far, and it absolutely delivers. As a bonus, as the fight with the Leviathan reaches its second phase, the song introduces modern drums for a more thrilling battle.
• "Chord of the Crooked Saints" assaults you once you step out into 6-1, and is a song as stark and disturbing as the layer it appears in, simply being a series of heavy ambient drones and machinery sounds as you explore the hellish building you drop into.
• "Altars of Apostasy" starts as you drop out of the building into the fiery expanse of Heresy itself, with a distorted lead guitar playing a tense lead as you take in your surroundings. Once you enter combat, strings and a synth enter the fray alongside a reprise of "Glory" as well as the usual breakbeats, making for an intense track perfect for the horde the layer throws at you.
• "Hall of Sacrilegious Remains" comes in for the final arena of 6-1, a remix of "Castle Vein" as frantic as the battle you must face, befitting the return of Hideous Masses in addition to the usual waves of demons. The track originally didn't exist, but Hakita noticed that a user in the Tundra level editor beta used "Castle Vein" for a climactic moment in their level, which he combined with his desire to bring Hideous Mass back in Heresy. "Hall of Sacrilegious Remains" thus serves as a testament to the back-and-forth between the game and its community, and how they both flourish from the relationship.
• "Fallen Angel" is an organ piece played by Gabriel himself as you traverse 6-2, following while Gabe lays out just how much suffering you've caused, as well as every reason he has to despise you. What stands out is how... bare it is in comparison to "I call to you, Lord Jesus Christ", as if Gabriel can barely play over his own despair and hatred.
• "The Death of God's Will", a Dark Reprise of "Divine Intervention", adds a deep electric guitar to the longer remix to Gabe's boss theme, but also has moments later on where the instruments take up less sonic space to let the melody ring out, showing how Gabe has lost his blind hatred and becomes more focused as a result. The OST version (later added into the game as part of the P-2 update) replaces the MIDI electric guitars with real ones, as well as replacing the more clearer moments with some violent sounding riffs right before the song loops, further cementing that feel of raw, undiluted hatred.
• Once again, Hakita goes all out for his musical work on P-2, but this time, he's not alone.
  • Starting off the madness is a heavily distorted recording of Wilhem Ohmen's "Weihnachten am Klavier", which invokes a harrowing sense of dread for what is to come as you make your way through the dark alleyways of Heresy.
  • Then, the true horror begins. Coming from guest artist Keygen Church aka Master Boot Record is "Tenebre Rosso Sangue", a pounding symphonic metal piece perfect for your battle with some of the worst Hell has to offer in your journey for the next Prime Soul. The OST version kicks things up a notch by adding a choir to the final section.
  • Following on from "Chaos" comes "PANDEMONIUM", the theme of the Flesh Panopticon. Whilst slower in tempo, it makes up for by being just as intense, if not more, replacing the irregular time signature for screeching electronic notes as well as some instrumentation that harkens back to the tracks played in Greed, providing foreshadowing for who your next opponent is.
  • At the very end, when only you and Sisyphus remain, a song fitting of such a confrontation is needed. "WAR" delivers in spades, following the same structure used by "Order", but adding on its own powerful twist, feeling less like a tragic reminder of a once powerful king, and instead sounding fit for a bloodthirsty warlord, all capped off by a Triumphant Reprise of "Sands of Tide".

Act III: Godfist Suicide

• 7-1 hits you with a double whammy of melancholy. "The World Looks White" greets you as you take your first steps into Violence proper and tour the blank halls of the twisted art museum, making good use of simplistic drones over a somber music box tune, which only helps to amp up the paranoia. When the bloodshed starts, the song switches to "The World Looks Red", which picks up the intensity significantly whilst still retaining that melancholic tone. Definitely makes you believe that the fast-approaching ending of your journey won't be a happy one.
• Closing off 7-1's themes is "Bull of Hell", which is arguably the game's most unconventional track. Rather than using melodic instruments, the song places heavy focus on percussion as well as ambient wailing, making it sound a lot more like thundering hoofsteps. A perfect theme for the Minotaur. It even features MandaloreGaming playing his Aztec death whistle!
• 7-2 brings "Hear! The Siren Song Call of Death", a pounding, fast-paced track with miltaristic percussion that does its best to encompass both the horrific chaos and tragedy of the battlefield, and of the perpetual war that is the First Circle as a whole.
• 7-3 packs another melancholic double-whammy. It starts with "Suffering Leaves Suffering Leaves", as you enter the Forest of the Self-Murderers: a sorrowful atmospheric track with an undercurrent of eeriness as you wander an utterly lightless place, where those who took their own lives have become but scenery. And when the utter chaos begins, "Danse Macabre" kicks in along with it, keeping as much of the melancholy as it can while readying you to wade into a battlefield where every last enemy you've ever seen is trying to kill one another, as well as you.
• 7-4 goes back to more familiar places with "War Without Reason", the theme of The Earthmover. The percussion is a relentless and constant march fitting for the gigantic mechanical monstrosity you must kill, while offering a different atmosphere for each stage of the process. Parts of the song even include the Earthmover's own alarms as part of the track to set the stage for you.

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