BANDCAMP: bit.ly/ror2-sots-bc SPOTIFY: spoti.fi/3SOv6vF VINYL: bit.ly/ror2-sots-vinyl ALL ROR VINYL: bit.ly/all-ror-vinyl RU-vid playlist: bit.ly/ror2-sots-youtube Music composed, performed & produced by Chris Christodoulou Lead & additional guitars by George Karayiannis (@g_karayiannis) Follow George on social media: Instagram: instagram.com/g_karayiannis/ Follow Chris on social media: Instagram: instagram.com/astronautdown/ X: x.com/AstronautDown
I love how a lot of the names for the tracks in this DLC are in different languages and referring to things from different cultures. It's so interesting to learn about their meanings and speculate on how they connect to the game!
For someone who listened to all the OSTs so much, it feels so nice to hear some of those tracks in your future work. Especially here, imagine my joy when I heard both DFR and Into the Doldrums! Seriously, I wish you could've seen the smile on my face, please keep doing that!
Hey Chris, I want to thank you for still sticking with this series. Your music is iconic, and it's wild to think I've been listening to it for 10 years now. Its really inspiring. I've dug into music theory, found new genres I'd never really consider- and again, I just wanted to say thank you. This stuff is so cool.
The last few minutes of the song that enter the ambience with the bass underneath makes me think not of the calm before the storm but rather a calm while being in the storm, like being in the eye. Your skill at making detailed soundscapes always amazes.
Thank you so much for your music Chris. I know so many people say it and I doubt this will ever be read, but you have absolutely inspired me for my career. From the level of passion and uniqueness you bring to the table, you have encouraged me to continue with my musical career and my game development occupation. I desperately want to merge the two and be half as good as Hopoo. Thank you Chris, I am not overexaggerating when I say you have kept my hopes and dreams alive. You made the art that nobody thought was possible. Maybe I can too. Also, I absolutely love that Providence's theme has been shredded for the false son.
This shows a mastery of motif reintegration. This is so much more than just reusing a theme, it’s reimagining it in a way that completely mixes up the original and turns it into something entirely unique. Incredible work.
one of the most bizarre songs in the ost to date in the best way possible, several og double fucking rainbow references, and a reference to the rallypoint delta track? i do wonder what this is going to imply.
YGNABU has a lot of similarities to DFR (especially if you listen to the original and not the retake version). Both of them have have melodies that are shared with this.
DON'T FORGET that the "rallypoint delta track" also plays in gilded coast where u fight aurelionite who makes up part of the False Son And the DFR motifs are used in DFR Returns against Providence AND in You're Gonna Need a Bigger Ukulele against Mithrix So it's all very relevant! This man knows what he's doing
@@AstronautDown I'm guessing it's the theme for the false son because of the similarities to you're gonna need a bigger ukulele and the face of the deep
Tlalocan is apparently an afterlife/paradise ruled by Taloc , reserved for those who died from water, like drowning or floods, ie rain So yes, on point (Oh Chris also said this was not a stage theme in another comment, so this literally has to be the false son’s theme)
imo i think this is going to be a stage boss theme, not the false son. it seems weird that chris would release the dlc final boss theme randomly before the ost comes out
@@mewz52 not really. It Can't Rain All the Time is the last song in the album, and the first one to be teased, and the first one to be added to the game, because it works wonders as the last song of the album. Its release date is not the one factor we should look at Not only does this not play like a normal boss song, it also prominently presents motifs from You're Gonna Need a Bigger Ukulele, The Face of the Deep, and Providence's new song from Returns (if I didn't get my facts mixed up). That's not something that gets put on any song, and maybe there will be more than one playing on his fight I think, but this is something that most definitely is playing for the False Son
@@thejam3310 the jazz sounding section at 1:29 has a drum pattern exactly like one from a Work in progress stage soundtrack that Chris released on his Instagram story for a while (has since been deleted) The stage in question also had a somewhat jazz-like theme and even a piano solo that was posted on Chris’s Instagram so I’m guessing that this is the teleporter theme for that stage
sitting in my chair, listening, picking up on a couple motifs: "Okay, I can get down with this." 0:28 kick happens "OHOHOHOHOHOHOHO I SEE" I had to honest to god lean back in my chair and just absorb that for a second. Wherever this plays or whatever it plays against, I'm gonna chase it every run I can.
The second half of the song is giving me vibes similar to "Petrichor V" from the base Risk of Rain 2 soundtrack and "Lux Perpetua" from Deadbolt, the type of song to play at the end of your schoolwork playlist at 5am after you finally finished the project due in a mere few hours at that point, and in that state of pure exhaustion you gain a new emotional understanding to the songs while staring at the ceiling relieved that your work is finally over. I don't say as if I've experienced that scene of course! No way I'd push a music theory project off until the final night... 😅 Great work man. Risk of Rain means so much to me and has held the throne as one of my favorite game series since I started playing Risk of Rain 2 in early access, and your music has definitely contributed tenfold to the praise that I can give to it. Can't wait to get my hands on the new soundtrack tomorrow!
Seeing Chris eventually step down (it's inevitable and I don't think anyone would do something forever) will be very sad but eternally greatful for the art you shared with us and the soul and atmosphere you provided to the franchise over the years as well as unforgettable memories
The opening synth breakdown at 0:27 makes my head bop like nothing else, and I mean up and down, horizontally, in a circle, through all 11 dimensions, etc.
You can just hear (and feel) the sheer amount of hard work, competence, talent and creativity oozing out of each and every one of your compositions. It always baffles me the way your music feels, and also how it elevates and blends with the game. Thank you for creating such amazing music.
I can’t believe how perfectly you worked Double Fucking Rainbow into this song. I have no idea how you consistently make music that is this fucking tight. It’s poetic. This music is going to make the DLC for me.
DAMN. if this is a boss theme im going to be headbanging in the middle of the gameplay. Lowkey this song is selling the dlc for me right now. Amazing musical devices used.
WAIT a second. that warbly very sci-fi synth is playing the Double Fucking Rainbow motif - and the only other times **I can hear** that motif in the ROR2 OST is in You're Going To Need a Bigger Ukulele and The Face of the Deep. Which are the themes of the two final bosses in the game. Mark my words, this theme is for the final boss of Seekers of the Storm. and that is so fucking cool.
Hey Chris, as a metalhead and prog enthusiast, I'm absolutely loving this tonal shift in the guitars for this soundtrack. What were some of your inspirations for this album that were different from the base game or dlc1?
Main difference was that I bought a seven-string guitar and I had to justify the purchase. But in all seriousness, I always try to find some new foundation for new music in the game and there are several elements here that have either never existed or had a minor presence in the previous albums and are now featured more prominently. Some examples: indeed the 7-string that has made the overall sound much heavier, which was very intentional from the early days of conception; various acoustic elements that exist because of the mesoamerican and south Asian influence in the art of the DLC, such as various flutes, the sitar and tanpura, tablas, the charrango, congas and bongos, etc; meter goes wilder than ever especially in some pieces; and, as I've mentioned elsewhere, Void was the death album, Storm is the birth album. I wouldn't say there are any particular inspirations behind this that are different from the other ones, it's just in different doses.
I love the feeling of mania and power that I get from this song. It feels a lot like something dangerous becoming aware of itself, and the destruction that it is capable of. I love this feeling.
Nice. DFR is one of my favorites, and it's been mixed into such a multi-faceted song. There are so many motifs, it feels like I've heard it already, yet it's also new. Intense, then basking in the fresh new world. Very comfy.
Man, Chris I grew up with your music(since deadbolt). Seeing how you still do it is both bitter and sweet Because I hope you enjoy making them as I enjoy listening to em, I know how burnout is and how mistreated vgm artists are. Wish you the best! Fly high king!!
Picking out all of the existing motifs and hearing them mixed into these crazy new tracks has been an absolute treat, very excited to hear the rest of this album. Love your work Chris!
this one will probably be a teleporter theme whats interesting tho is how the second part has some parts of the 3rd stage snow area theme (dont know how its called) also the first part kinda gives off risk of rain 1 vibes
With the combination of DFR and Into the Doldrums (which not only plays on Rallypoint Delta but also (and more importantly) Gilded Coast) it's absolutely the False Son's theme. DFR for the Mithrix/Providence relation and Into the Doldrums for the Aurelionite relation.
@@anhurdyn3938 oh but the DFR motif plays also in "the face of the deep" (the beginning part) which is completely related to the void i think the DFR motif is probably showing the strong encounter relation and not the brothers relation
i've looked into both brothers themes (the remastered DFR and you're gonna need a bigger ukulele) and i've noticed a motif that plays in both themes that isnt the DFR motif i call them the "dun dun dun" parts in DFR at 0:52. it starts playing and in ygnabu it is in the 3rd phase part mithrixs themes dun dun dun part is more slower and also feels more stronger while providences is more fast paste but i might be wrong about all this and it just sounds similar out of coincidence
I totally didn’t realize there was a wiki link to the origin of the title in the description, and it just made me love the titles even more. I’m totally putting that Tlālōcān mural as some sort of wallpaper on my phone, as both an honor to that story and this song.
Hi Chris! This whole album is phenomenal, and this piece is no exception, loving the heavier feel in some of the guitar lines. I was wondering if there is going to be a stems collection for this album, similar to the last? They are such a brilliant resource, and I am eternally grateful for them - no other composer I know does them. (ps. Any idea when the stems will next be available? I’ve been dying to grab them for a while, but missed the last one :( )
Thanks! Stems will become available but I have no idea when. It will be on a Bandcamp Friday though, as long as this is still a thing at the time. Following me on Bandcamp is the only way not to miss it.
I always love hearing all the crazy motifs from other songs! Hearing DFR, Doldrums, TMAWBD, and the final bosses theme makes my brain click. Thank you for all the good music, it is very inspirational for my own music making, and keep up the hard work!
0:27 The beginning of the song sounds like When a squeegee or a towel rubbing against the wall makes a funny noise and you keep doing despite annoying everyone else in the room
I don’t know why it took me until a few days ago to peg that the first half of this is a Magma tribute, seeing as they’re one of my favorite musical acts of all time, but I’m really glad it exists. The whole thing is absolutely gorgeous. _SotS_ might have gotten a mixed reception overall (the new stages are nice, if nothing else), but if this is truly going to be Chris’ last contribution to the series, at least he’s going out on a high note.
Can't wait for the Seekers of the Storm album commentary, if it is coming, because I haven't been able to quelch the doubts about if this was originally supposed to be used for the False Son boss fight
@@AstronautDown ah, I see, thanks. I misinterpreted the meaning behind the choices for this song, then. And I recall you saying something, maybe on a song premiere or something, about the places where certain songs were used getting jumbled at some points, but I might be wrong there as well
@crangejo Most pieces were loosely tied to levels/bosses so it's not that they were swapped , ita more that they were eventually locked into place. But I've always considered OMPH1 as the de facto final boss track, and did not find a reason to change that (I would have if I did).
It sounds like a long time dear friend visit. You guys were remembering when you learned to play the drums and learned some ukulele, it was fun... after sometime he done some luthier stuff, done a polylute,.. he used to play it to fulfill a void. Nowadays he remembers it, he values it. He accepts. Now you just wanna do some fun, be happy and stuff. This shit is beautiful! ❤
