Unrelated music from the game Darksiders 2 (Jesper Kyd).

Greetings. Let us continue to get acquainted with unrelated music for some games that you could start in my past posts (and if you couldn’t, then you can do it now and here). This time we will return to Jesper Kid again, namely one of his best works (another one of the best, yes XD)-the music written for the game “Darksiders 2”, published in 2012.

Surely, most of you know this track, not only if you are interested in Kid or are familiar with the Soundtrack data, but also just if you played this game. This is the first track to which the game meets the player, and many he immediately remembered. What was the surprise not to find this composition on the official album!

If you listened to the officially published soundtrack Darksiders 2, then you are unlikely to have the impression that it lacks a large part of the music from the game. At least he looks good and quite saturated: two discs, 12 tracks on each of them. Nevertheless, many tracks did not find their place on the album. But they could, since by duration both disks would easily fit into one! Yes, on each disk of the published album of music more than two times less than could fit these discs! And my surprise had no borders when I heard tracks in the game, which were not on the published album. And there were quite a few of them.

Several combat topics playing in skirmishes with ordinary opponents who www.magic-win-casino.org.uk/ did not fall on the album:

It was this soundtrack, which I really liked, inspired me to create those collections of unrelated music that I do. This was my first work, and when creating this collection, the technique that I applied here for the first time and applied later: to find available gamrypes from different versions of the game (yes, music in versions for different consoles can sometimes be different, and the sound quality is all the more) to go through the game, listening to the music playing on the backdrop of music and the bunchesgamryps and connect them as accurately as possible to each other, folding a full -fledged composition, which is listened as well as the published tracks.

An example of how the compositions playing during the gameplay are formed from various pieces scattered according to musical files of the game:
The first 30 seconds – the introduction playing when the boss appears in the arena;
0: 30-1: 30 and 2: 40-3: 40-a fragment playing with a direct fight with the boss in its active stage;
1: 30-1: 58, 1: 58-2: 26, 3: 40-4: 08 and t.D. – A fragment playing in a fight with called mobs, when the boss itself becomes unavailable. This fragment is fixated in the track, unlike the previous fragment, which is also fixed in the game, but is not fixated in this composition, since this does not sound so holistic with simple listening;
2: 26-2: 40-a transition fragment playing when the boss transition from an inactive phase to an active.

Next, I streamline all the tracks I reduced in the likeness of the album, sometimes guided by certain principles, such as, for example, in this assembly all the compositions are collected respectively by the locations in which they play. At the same time, I admit exceptions, such as the last two tracks, which are much better suited to complete the entire “album”, although they play in the very first location and should be in the first half of the assembly, if we are guided by the logic used by me. Well, since, by virtue of the features of this assembly described by me in this paragraph, I have to bring you this last track as an example, I will immediately complement that, in addition to completely new tracks, these assemblies of additional music always include alternative variations on the tracks available in the official release, which, by perfect chance, was the very last track that I wrote above: I wrote above:

In addition to this track, this composition is also a good example of alternative variations for published music: this composition:

Or, for example, the full version of The Abyssal Plains track, which is presented in the album in a very cut -out version:

And after listening to this track, you will hear the familiar motives found in the officially published album, but the composition itself does not rotate the composition of the alternative version: