It can be heard in more mainstream hits like Jamiroquai’s Canned Heat, which is most famous for its use in the dance scene from Napoleon Dynamite. That violin is a disco staple and acts a big draw in the song. It’s exciting, fast, and most importantly, very catchy. This song is what I think music in fighting games should sound like. The electronic voice reminded me a lot of Daft Punk and I think it’s saying “Are you getting groovy? Getting in this music?” and I’ll answer that with an absolutely. Then, just as things get awesome, a breakdown comes in and pauses things just for a moment, before it sets the song back up to continue its captivating display. The piano is the most constant element in the song. This same fading effect is used numerous times throughout the song and each time it restarts, the song seems more epic. The classic disco opening rides into a very groovy dance number that is just to die for. Let’s chill out with what is by far my favorite track on the entire album, Xiayou. This is a strong techno song, not watered down like many releases in the genre nowadays. I love the techno vibe this song exudes and its beauty lies in its repetition and clear direction. The only real purpose the lyrics serve is to add to the already intriguing sound. It’s kind of funny when you consider this is Yoshimitsu’s song and he actually doesn’t seem to have a lot of those things. I can practically confirm that the lyrics are “No eyes, no ear, no nose, no mouth, no body, no mind, no shape. In my opinion, this only prolongs the awesomeness. From this point, the song loops what has been played so far. When the synth comes back, it is loud and strong, giving the song a techno or even techno-pop taste. Then, before it gets out of a hand, the rolling bass takes the wheel. Things get more complex quickly though as a synth fades in and out and a chime begins to repeat. A monotone artificial voice opens this song, backed by a simple bubbly bass. Very similar to Jin, Yoshimitsu picks up with its faster, more repetitive composition. It’s noticeably more industrial than the rest of the album though. A second opinion told me this song wasn’t very easy to get into, but I completely disagree with that. The slow pads in the background clash interestingly with the speedy claps and synths and the clean ending is a tasteful way to bring an end to this aural trip of a song. The low artificial voice seems to be saying something along the lines of “Playground, Full grown”.Ībout a minute in your treated to the distorted sound of a guitar and then a variety of deep, aural sounds begin to step in and out of the song. The low bass thumps and the song is altogether very fast and in your face. The stuttering percussions give the track a very robotic, electric sound. The repeating synth and funky clap will have you nodding incessantly in just a moment. Let’s start this party with the electric Jin. The most notable exclusion from the OST version is the theme from the opening movie, which is actually one of my picks for the best tracks. Also noteworthy, I’ve listed the release date of the OST as the original release date. TTTOST has the better artwork though, in my opinion. Since it has the most tracks, Direct Audio is the one you’ll want. The song that plays after you’ve lost a match in arcade mode, for example, is one of these tracks. The difference between these albums was a small group of sounds and songs that appeared in the game but weren’t themes. The second version of the album came out the following year (much closer to the release of the game actually).This one was called Tekken Tag Tournament Direct Audio. The first came out before the game in 1999 and was named Tekken Tag Tournament OST. There are actually two versions of this soundtrack. What matters is how awesome their work is. I’d be lying if I said I was familiar with any of the many artists credited on this soundtrack, but that doesn’t matter.
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