🎻 Music of Sekiro: Shadows Die Twice
Composing the soundtrack for Sekiro: Shadows Die Twice was a unique challenge for Yuka Kitamura, differing significantly from her work on Dark Souls and Bloodborne.
1. A Musical Companion, Not Just Background
Unlike previous FromSoftware projects, where tracks primarily played during boss battles, Sekiro’s soundtrack accompanies the player throughout the journey. Each key character—from the enigmatic Sculptor to the formidable Isshin—has a distinct theme that reveals their essence through melody.
2. Taiko Drums—The Backbone of the Soundtrack
The foundation of the entire soundscape was built on Japanese taiko drums. Their power and rhythmic complexity capture the spirit of the Sengoku era:
“We weren’t thinking about noble knights, but battles fought in mud and blood. It was a time of desperation, and the music needed to sound wild and chaotic.” (Yuka Kitamura)
Alongside taiko, traditional instruments were incorporated:
- Shinobue (bamboo flute)—for meditative moments.
- Biwa and koto—for themes of betrayal and revenge.
3. A Dialogue of Two Japans: Beauty and Chaos
The main creative challenge was balancing opposites:
- The brutality of the era is conveyed through sharp taiko strikes, dissonant chords, and fragmented melodies.
- The ancient beauty is embodied in the pure tones of the koto, ethereal shinobue sounds, and vocal performances reminiscent of Shinto rituals.
“We explored not only war but also traditions and religion—the sublimity that endured through the decline.”
4. Live Instruments and Personal Involvement
Sekiro is the first FromSoftware project with such extensive acoustic recordings. Kitamura not only oversaw the process but also personally:
- Played violin and cello parts.
- Provided vocals for tracks tied to mystical forces (e.g., the theme of Okami).
European instruments (violin, cello) don’t clash with Japanese ones but instead highlight them, creating a universal epic language.
5. A Secret Collaborator and Miyazaki’s Philosophy
Game director Hidetaka Miyazaki set the core idea: “Minimal influence from Western fantasy music.” To achieve this, an external composer (name undisclosed) was brought in, offering fresh perspectives that helped:
- Find unconventional rhythmic solutions (e.g., in the Guardian Ape’s theme).
- Craft bass lines where taiko interacts with electronic elements.
“Fellow composers push us to experiment—otherwise, we’d be stuck in patterns.”
6. Sounds as Part of the World
Ambient tracks aren’t just background noise:
- The rustling of wind in bamboo groves.
- The tolling of temple bells.
- The whisper of water in dungeons.
Gear:
https://www.moonsviolin.com/gear
Support:
https://www.patreon.com/maria_moon
https://destream.net/live/maria_moon/donate
In social networks:
https://moonsviolin.com/social-networks/
Comments