the tragic fact is Hades is more bound by his contracts than anyone else "every pact of punishment is to be filed, signed and sealed, not piled up, boy!"
I was so bummed about being defeated by that blasted Theseus a**hole, but then I heard it and nearly cried when I recognized he was singing Eurydice’s song, and nothing else mattered for me at that time.
I was getting back from talking to Persephone, my Switch had 5% battery left but I couldn't bring myself to put the game down hearing Orpheus singing, I didn't expect it at all without at least more nectar or me buying the song with a diamond or three. (this all just happened and I had to look this up to continue listening)
So there’s some music theory being applied here in a brilliant way - there’s a concept called relative keys being used to evoke the different moods for Orpheus and Euridyce. The progression is in D minor, but Eurydices melody resolves to its relative major of F major, with the major melody over minor progression evoking a peaceful mood. By contrast, Orpheus is singing Eurydice’s melody with most notes shifted down two notes in the D minor/F major scale, putting the melody in D minor (same as the chords). This pure Aeolian minor sound is somber and lonely, in contrast to Eurydices peaceful rendition. This puts the two melodies two scale tones apart, which is the most common interval for creating choral harmonies. That leads to the grand conclusion that when the two are sung on top of each other, you get something greater and more beautiful than the sum of it’s parts. I’m amazed at how well Supergiant was able to tell the entire story of these two more through just this song than any of the dialogue, it’s fantastic songwriting.
Best part is that Darren Korb is the singing voice of Orpheus. He composes on all of Supergiant’s games and him and Ashley Barrett have become an incredibly iconic duo. They do a bunch of songs like this in other games. Korb doesn’t voice the speaking voice of Orpheus, but DOES voice Zagreus and Skelly :) That doesn’t even cover the other actors who do multiple roles in all of Supergiant’s projects. Truly an incredible company and glad they exist to share their art, since let’s face it. All their games are artpieces for sure.
So thats why i like this so much lol, even learned it on guitar because i liked it so much. Do you know of any other songs that has such a great combination of contrast? I'd love to hear more like this
Not to get too pedantic, but technically Orpheus is singing a mix between Aeolian/natural minor and harmonic minor, and Eurydice is actually singing Ionian, but with the same Aeolian accompaniment. It's definitely brilliant though. While it's still hard to hear either voice out of the minor context, there's definitely a subtle difference in brightness between the two modes that's in keeping with the characterization.
I came across the duet in game last night and had a similar response. As soon as I heard Orpheus singing as well and I had a huge smile, walked over to stand in front of the home, and just wept for a few minutes at how beautiful they are together. But it's always fucking beautiful when you pair up Darren Korb and Ashley Barrett. Darren Korb is the music director for Supergiant as well as the singing voice of Orpheus, he's also Zagreus and Skelly; while Ashley Barrett is the singing voice for Eurydice as well as the singing voice for Red in Transistor and for Nia's song in Bastion.
This song caught me off guard, I entered the room in Asphodel expecting to see Sisyphus again, and got hit with her song and god damn I choked up. SO good.
I think that's part of why I like it so much. Context seems to have a large impact on music, and coming from the chaos and general horribleness of Asphodel into this little oasis with this incredible song is just something really special. I just stood around listening to it for several minutes the first time I walked in there.
orpheus' part just sounds so obviously like the harmony with eurydice as the melody, which fits how he says that eurydice wrote his songs and he can't compose without her
That line, "I'm free to do as I may" absolutely destroys me. Being free to do as you may, is far different than being free to do as you please. The tragedy destroys me.
@@mariocortez8853 “Free to do as you may” basically means you can do what you want as long as it’s allowed, “free to do as you please” means you can anything that you want, whatever pleases you.
you may be right, but im pretty sure that in this case, the lyrics deal with death and finding peace in death. "farewell earthly remains, goodbye friends, no contract, no burdens, atlas can rest, no hunger, no sleep except to dream, safe from all harm" i think are all examples 'resting in peace', or in other words, being dead and at peace. the line "no contract, im free to do as i may" really means freedom here, but free from the worries of life.
I just heard Orpheus sing this solo in game for the first time. I somehow didn't like orpheus' tone or something, but now that I've heard the duet, it's obvious why they picked this voice. It's a gorgeous combination. Eurydice alone sounds like a celebration of the afterlife. Orpheus' version almost sounds like a lament. Like he's bitter. When combined it becomes bitter sweetness. One complements the other without overpowering. ... All that stuff aside, I fucking love this. Surprisingly easy to sing along to, too.
Orpheus' version is more emotional, where as Eurydice's version is more with a tonal impact. I mean she is meant to be better cuz she is the muse that inspires mortals :P
@@kinagrill Well, on the other hand Orpheus was so good that all the gods and even furies wept when they heard his song. Hades himself allowed him to take someone out of underworld. That's huge. But after all this, he fucked it up for good. No wonder he's bitter, especially now that he's in the afterlife and still not united with his wife, which wasn't the case in the myth iirc.
You're spot on - here's what Darren Korb said about it in a recent AMA on Reddit: "I wanted to have Orpheus's melody sound sad on its own, and Eurydice's to sound more hopeful. I wrote Orpheus's first, making it a "minor" sounding melody. When I went to write the harmony to it, it naturally sounded more hopeful on its own! It came together a lot more quickly than I expected it would!!" Also, "For the Orpheus and Eurydice stuff, I had a slightly different approach. For "Lament of Orpheus" I was feeling major Radiohead vibes. I pictured emo Orpheus as a Thom Yorke type, more or less, and tried to run in that direction. I also knew I wanted him to only sing in falsetto, since I wanted a hook for him. I thought "what kind of a voice would move the gods to tears?" and it had to be something ethereal and angelic. For "Good Riddance" that was a song Eurydice wrote, so I wanted it to be a bit more grounded, and more relatable, both musically and lyrically." Lots of really good Q&A from the team - www.reddit.com/r/NintendoSwitch/comments/ixri6b/we_are_supergiant_games_creators_of_hades_pyre/
eurydice version is this kind of melancholic but really optimistic song about moving on god damn, when i first time heard orpheus sing it my heart fuckin stopped
especially since you spend so long passing by Orpheus through the Great Halls to no music, and to come back from a failed run to hear such ghostly ethereal music was just such a jarring experience. My brain took a minute to realize what was happening.
I like how they twist certain aspects of the characters that have multiple stories! Like making Eurydice a nymph when the story I knew had her dancing with nymphs when she died, or Orpheus thinking Dionysius and Zagreus being the same person because some stories have them being the same person. I love all the little changes and details in this game
Also making demeter daughter of Hyperion instead of Kronos and Zeus hating her father so much that he started telling everyone that she is his sister and daughter of kronos
I also really like the changes!! But I thought Eurydice was always a wood nymph? Atleast that's what I've always heard when hearing their story ksksjdkkdjk
@@IDontReallyWantARU-vidHandle there's so many different versions by so many different poets there's no point in arguing about it. It's really fun comparing different versions with people.
Farewell to all the earthly remains No burdens , no further debts to be paid Atlas can rest his weary bones The weight of the world all falls away in time Goodbye to all the plans that we made No contracts , I’m free to do as I may No hunger , no sleep except to dream Mild and warm, safe from all harm, calm Good riddance to all the thieves To all the fools that stifled me They’ve come and gone , and passed me by Good riddance to all Farewell to all the earthly remains No burdens , no further debts to be paid Atlas can rest his weary bones The weight of the world all falls away in time
Time stamps for whoever would like them! :D Eurydice begins at 0:00. Orpheus begins at 2:52. Their duet begins at 5:43. I’m sure there are a million other time stamps in the comments, but figured I’d leave this here anyways in case people couldn’t find any! ❤️
I just met Eurydice today for the first time and I won’t lie. I sat in her chamber and just let her sing a good majority of this song before I even interrupted her to move on with my run. This song just kind of hit me in a surprisingly emotional way and I just needed to listen to it.
Same. I think it's the contrast of walking in from Asphodel's chaos and more aggressive music, along with the fact that it's just a genuinely beautiful song, sang by a woman with an incredible voice.
The part where they sing, "Good bye to all the plans that we made; No contracts, I'm free to do as I may". I give me chills whenever I hear it, it's just my favorite part of the song (aside from the entire song).
I love how Eurydice wrote this song apart from Orpheus and she sings a melody that is almost harmony in parts, but like, once Zag gives it to Orpheus, instead of Orphy singing Eurydice's part, he sings his own counterpart, the other half of it, even when they weren't sure if they wanted to get back together yet they were still each other's counterparts...
Being a Greek myself, I couldn't be more honored and thankful to this amazing aspect of our mythology. I can't help myself leaving the controller down when I reach to Asphodel's exclamation mark. Won't say anything further more, 'cause I don't wanna spoil the excitement. This company just teached to all of us how to be worthy of making a AAA title. Voice acting, atmosphere, colors, gameplay; everything is greatfully embraced in this pack. Its an investment at all points. Thank you Supergiant Games for embracing our history and lore in such a wonderful way.
I don't even know what hades is. This video popped up and I'm sat here reading comments while listening to this masterpiece, seriously this is amazing.
It's a game by Supergiant games. Look up their other soundtracks, they all have vocal tracks by these two singers and are, imo, easily the best soundtracks in gaming.
PLAY THE GAME. it’s so good, and it’s got endless praise for its extreme amount of voiced lines alone, so ya can’t even imagine what the full thing is like unless you play it. 100% recommend
16 year old me back in college super obsessed with Greek Mythology, one of my particular favorite stories was Orpheus and Eurydice. There I was pinning over what they would've sounded like that a cold hearted god like Hades would allow Orpheus a contract to reclaim his lost love. 14 years later I think this song satisfied that curiosity I had all those years.
Lol, same. About 10 years ago when I was 11 I read the Percy Jackson and Heroes of Olympus books and became obsessed with Greek Mythology. Really wanted to hear what these two would've sounded like.
Ok, so a couple other comments have touched on the relation between the music theory and the storytelling of Eurydice and Orpheus here, but I want to take a deeper dive to just how BRILLIANTLY this composition characterizes Eurydice (Skip to where I start writing in all-caps to get to the point and skip the music gobbledygook). Eurydice is singing this melody in Eb-Major, while Orpheus' entire melody is in diatonic parallel thirds below her, and thus is in the relative key of c-minor. We stereotypically hear minor keys as being "sad," and that's probably how you heard Orpheus' part as compared to Eurydice's. But the fact that Eb-Major and c-minor are relative keys means they share the same set of notes, which begs the question: which key is the song in? Eurydice's happy Eb-Major or Orpheus' sad c-minor? Is this a song of rejoicing, or lament? Well, the fact that the two scales share the same set of notes means that it can sometimes be difficult to say for certain which key a song is in, and Darren Korb uses this to his full advantage by keeping it ambiguous for much of the song! One common way to tell what key a song is in is to look at the way a phrase resolves--the chord at the end of a phrase is often the tonic chord of the song, especially in a case like this where Eurydice ends her first phrase (the word "remains") on an Eb (her tonic) and Orpheus ends his on a C (his tonic). But the chord there is neither Eb-Major nor c-minor, but Ab-Major. Ab is the IV chord in Eb-Major, and the bVI chord in c-minor: it's a pre-dominant chord, which means that it isn't an arrival, or even setting up for an arrival, it's just a passing place, where the music doesn't feel like it has too much tension, but feels like it still has some place it needs to go. The second phrase is an exact repetition of the first, prolonging this ambiguity. So another way we might determine the key is by looking at the starting chord, which is often (but not always!!) the tonic (This tends to be true more often in pieces with slower harmonic motion, but this song has very fast harmonic motion, with a new chord every two beats, so this wouldn't be conclusive). Well, here is a point in Orpheus' favor, as the first chord is a c-minor. However, this point is almost immediately lost, because the second chord is Bb-Major. To explain the significance of this Bb, let's back up: relative keys such as Eb-Major and c-minor can be difficult to distinguish, but one way for a composer to make it clear which the listener should hear is through an Authentic Cadence. A cadence is a musical arrival point, a point of tension --> release, usually resolving back to the tonic. An Authentic Cadence is the strongest sounding cadence, resolving from the V chord to the tonic. This sounds so strong because of the leading tone (the 7th note in the tonic scale, which desperately wants to resolve up to the tonic), which is the 3rd (and thus most "colorful" note of the V chord. In Eb-Major, this cadence would be a Bb chord to an Eb chord (bonus points if it's a Bb7). But the minor scale runs into a problem here: it has no leading tone, as the 7th note of a minor scale is a half-step below, meaning its V chord is minor rather than major (so, v rather than V). A v-i resolution carries some weight, but it doesn't have nearly the sense of arrival as a V-I, and this lack can cause songs in a minor key to sound like they're actually in major but just haven't resolved. This is where is the Harmonic Minor scale can come into play. The Harmonic Minor scale alters the 7th note of the natural minor scale to create a leading tone to the tonic, allowing for a strong V-i cadence, telling the listener that the song is absolutely definitely in a minor key. In c-minor, this critical cadence would be a G-Major to c-minor. A lack of a G-Major chord doesn't mean that the song ISN'T in minor, it just means it will be harder to tell for certain if other factors are ambiguous. So: the second chord is a Bb (the V of Eb-Major), while the harmonic minor scale uses a B-natural. That doesn't rule out us being in c-minor, but it definitely lends less weight to the fact that we started on a c-minor chord. Still, the piece could be using the Melodic Minor scale, which basically just means it will use either the Harmonic minor's raised 7th or the natural minor's lowered 7th as it pleases, (and may throw in a raised 6th just for kicks to smooth out melody lines). But just as strong of evidence in the other direction is the fact that the penultimate chord of the phrase is Bb-Major, which wants to resolve to Eb, but goes in the other direction down to Ab. So it comes much closer to resolving to Eb than it does to C. So I'd say the two are about even at this point. One last point about the first phrase: with the exception of two of Orpheus' notes, neither melody has the root of any chord, meaning none of them feel completely stable at any point--they are both almost exclusively using "color" notes rather than sitting in the center of the tonality (that's not super relevant for this, I just thought it was interesting). So, we've gotten through the first two phrases (which are identical) without any solid evidence for which key it's in, and the third phrases starts off like a third exact repetition, only for melody (or rather melodies) to jump up a third higher (on "can rest") than it was before (this doesn't change the harmony, since they go from root-3rd to 3rd-5th). But then the first real surprise comes in as the melody descends: on the words "weary bones", we get a Db-Major --> c-minor cadence. Db does not appear in the key of Eb-Major: it is functioning as a borrowed chord from the c-phrygian scale, with its telltale bII --> i cadence. The phrygian mode is often thought of as even darker and sadder than the minor scale, thought of as a heavy, mournful, dirge-like sound, and perfect for the words "Atlas can rest his weary bones." Since this is a borrowed tonality in passing, not a final cadence, this doesn't automatically mean we're in minor. I'd just interpret it to mean that, even if Eurydice is rejoicing, she also feels a great deal of weight in her weary bones that she would like to rest. Which is a fair enough feeling for anyone in the underworld. After this, on the next two lines, the melody descends to its lowest point thus far on "the weight of the world..." and the harmony is somewhat static for a moment: going Bb-Ab-gminor-Ab. It doesn't feel ready to resolve at any point through this. But then, BUT THEN, comes the moment that made me want to write this long-a** comment. To end the verse, on the words "in time," after having been in this place of ambiguity for the entire song thus far, COMES A G7 CHORD!!!!!!!!!!!!! WHICH RESOLVES BACK TO C-MINOR TO START THE NEXT VERSE!!!!!!! The second verse is an exact repetition of the first, and the b-section also ends with a G7 chord to loop us back to the start, which all establishes the song as being firmly in the key of c-minor. So why is it so crucial that this reveal was delayed so long? That's on Eurydice's end (since we know that Orpheus is singing this as a lament through-and-through). Consider the last lines: "The weight of the world all falls away...in time." "Weight of the world" and "all falls away" both resolve to the NOTE Eb, as if this is in major, as if it is a celebration, but then that crucial G7 chord comes in on the words "in time." This changes the ENTIRE MEANING of her half of the song. It is not a celebration: it is a prayer. Every feeling that she sings of is not what she really feels, it is a longing for what she WANTS to feel, what she is TRYING TO CONVINCE HERSELF that she feels. Only at the very end of this verse is she honest: these feelings may come IN TIME. They are NOT HERE YET. She wants to be at that place and say Good Riddance to Orpheus, but those aren't her true feelings. Looking at the other two places where the G7 chord comes in: "mild and warm, safe from all harm, calm," with that tonal shift coming on "calm." "Mild and warm, safe from all harm" sounds nice, but it also sounds like the place of a protagonist at the start of the archetypal hero's journey: sheltered, dissatisfied with life, longing for something more. Thus "calm" is tinged with that bitterness of her believing that she SHOULD be content with where she is, but not being able to shake her deep longing for what she lost. And finally, at the end restating "good riddance to all," with the G7 right on the word "all." She has spent this last section venting about "all the thieves, all the fools that stifled" her, but she can't bring herself to genuinely say "good riddance to ALL:" you can hear in that harmonic twist, her musing, "well, maybe not *all*." TL;DR: great example of storytelling through music, song seems like it might be happy until it gets to the part where it's not, and the lyrics in that moment reveal what Eurydice is really feeling as opposed to what she is trying to make herself feel, which makes for really profound characterization. In conclusion, it's really easy to make a music-ed--major/video-game-nerd go on some long-winded geek-outs, especially when they're procrastinating their homework. EDIT: for a really good overview of a similar concept in another song, check out 12-Tone's video, "What key is Hallelujah in?"
Dude I can barely read music and I have only the vaguest idea of the specifics of what you’re talking about, but your passion and the way you describe the mood of each of the technical terms really drew me in.
Thank you so much for this. I learned a lot and it is also nice because I was very puzzled by people saying her side was happy when I felt that it was a song about someone in deep denial.
I would say that they clearly designed him based on robert smith, from the cure. adding a bit of neil gaiman's sandman, which makes sense as sandman in the comics is also knon as morpheus, and is the father of Orpheus . Gaiman's Death was based in robert smith/goth movement... and helena bonham carter would certainly be Gaiman's Delirium ... haha
as a goth jojo fan i gotta say - you are absolutely correct (though i would say he's more of a siouxsie sioux but i definitely see the early robert smith as well!!!)
The first time you hear Eurydice singing it, the song sounds like someone who leaving behind all the painful memories and trying to move on. Then you hear Orpheus' version, and it's way more melancholic. His version sounds like someone who's letting all their pain and loss out. Then on the duet it sounds like two people saying "the worst is behind us" and being thankful for what they've got
It's a song where you can sit back, listen, and inside work to come to peace with the concept of death. Once you shuffle off, none of your living concerns exist anymore. You can truly be at peace as you have nothing that could possibly weigh you down anymore. It makes me smile a little when I think of that reward at the end of my life.
Gotta love the story of these two, and also the fact you can hear the song in Eurydice's chamber and time stops. The game's so well made. I just wish we had the vocal version in Hades' palace but a man can't have everything.
For a man who can make animals, objects, creatures of hades love his songs i was really curious when i met Orpheus if i could hear him sing. Not dissapointed
Ah man, the first time I heard Eurydice sing this I remember I just FROZE. In game and on the couch, just stopped everything and vibed. Didn't run Zagreus in circles, didn't pick up my phone, just sat and soaked it in. That doesn't happen too often anymore in these times of seemingly constant distraction. For this and many other reasons, Hades has taken a well-deserved spot alongside some of my all-time favorite games.
I really want more songs between the two of them. Like being a courier between the two exchanging notes for songs between zagreus' climbs. It just seems kinda slow to unlock their duet tho. Maybe in the future updates!
I totally agree here, I beat the game for the 1st time on my 52nd or 53rd run and I still haven't heard the duet in-game. The lyrical music in this game is really impactful, so they need to space it out better or add more masterpieces.
Its alot faster if u just always pick eurydices room in asphodel, i just got the quest to reunite them and im on like run 36 and several of those runs were throws.
The first time I came across Eurydice I thought it was the tartarus special encounter, and I was completely thrown for a loop when this song began to play. Its (sonically) so far removed from everything else you hear up until that point, that I actually stopped and just enjoyed it for a few minutes before moving on. Not just the surprisingly crystal clear sound quality, but its easily one of the deepest, most poignant songs ive ever heard in a videogame(*esp* one that costs half of what AAA games cost.) Both va's compliment each other perfectly, and tbh the song gets me a lil emotional when i hear it first thing in the morning. This game me a fan of SG. Hands down.
Lol when I met Orpheus I thought how could this weirdo land this beautiful lass as I always imagined Orpheus as this super hot buff Greek god like guy but when he( in game Orpheus) first sang I cried . Such melancholy in voice it is just mesmerizing. So in a way Supergiant nailed it ...
Orpheus, despite being a Greek hero, is no fighter or trickster....... He is the greatest musician whose voice could move the hearts of mortals, gods, animals, and even nature itself with his performance.
His voice is haunting. Hers is peaceful, soothing. I love them both so much, both separate and then together. The chord progression is also extremely detailed, compared to most modern music, and I love that.
both singers are absolutely incredible here. eurydices voice is so bright and warm- it has this quality to it that brings you in as comfort. meanwhile, orpheus' sounds like hes weeping- his voice is so soft and mellow, almost fragile compared to the vocal strength we hear in eurydices. and it sends chills down my spine GOD
The first time I heard orpheus singing his version of the song alone, I was blown away. I'd already listened to the studio duet a hundred times and of course eurydice's version, but when I came out of the styx and he was singing the song in minor and melancholy, it was incredible. It has a completely different sound and it's just gorgeous. Well done darren korb on all fronts.
Right? I love when games do this. Another example is in Nier Replicant where Popola and Devola sing their theme together after you complete a few quests.
I find it really hilarious that the lead composer also does Orpheus’ singing voice. Obviously he is extremely talented and absolutely killed it, but also they needed a voice for someone with a literally mythic level of talent and the dude in charge of music stuff rocks up and is like “it gonna be me, obvs”.
I had such a schock when after hours of hacking, slashing and dashing (yeah I am not a very good gamer), I entered for the first time Euridyce's chamber and heard that song. I stayed still and quiet for a long time, leaving the song fill the air. A pure moment of grace. Thank you so much Darren Korb and Ashley Barrett!
Even without listening to what the lyrics are, it's such a beautiful and calming song. But listening to what they're saying really hits you in the feels
@@user-re8tc1dg3b Oh yeah, I found out right after asking what was the game. 😅 Thank you though for answering my question, you're the only one who did and I appreciate that. Thanks a lot ! 🙏💖
Eurydice honestly is my favourite character design, everything about her looks incredible and she’s so full of personality. I was thinking of turning her into a dnd character. Thinking Earth Genasi Lore Bard.
Dont. For the love of all that is holy, do not turn your favorite characters into dnd characters. Shits another part of the mercer effect and you will likely push people away from this game with that shit. Take some points from the character, sure. But never ever make a carbon copy, that kills the character for the other players in your group, their perspective of Eurydice will be shaped by how you play her, and i doubt you have the finer notes on the characters personality as imagined by the people who made Hades as well as the greek mythos. Just make an up beat lore bard, dont name it Eurydice, be lawful neutral and maybe just maybe put that sheet in a binder and make one like Orpheus, Because I suspect that he would be much easier for you to play.
@@blchfnby lmao dude I've been playing dnd for 7 years with my group of friends from high school, dnd doesnt go so insanely deep for us as it does for you apparently, and im probably not gonna actually play her, I do do that where I think of a character from a game or a show and just make a character sheet for them because I find that fun. And who knows, maybe I make and earth genasi lore bard named eurydice and she's nothing like the mythological one.
The first time you enter her space and she and Orpheus are together again, finishing this epic masterpiece...brings me such rich emotion ive experienced precious few times in my life, let alone in gaming.
I sang along with them in a third lower harmony and it sounds kinda freaking awesome 💜Love this song so much. Completely gorgeous voices, lyrics and harmonies
just stumbled on to this clicking around at random, and- I was kinda bopping along to both of the individual bits, but when the duet hit. Just. Wow. It's so pretty
i actually lost my job today, a job i didnt really like much and was thinking about quitting anyway. so i'm conflicted about whether being let go is good or bad. so this song, and the two separate versions of it, that are written the same but give two different feelings, fits really well with what i'm feeling, both accepting and sad at my situation Edit 18 months later: life turned out well
Getting here was one of the most impactful moment I've ever experienced in a game... when I got here I stopped wantonly trampsing through my father's domain and stopped to listen to this song from start to finish. I wept the entire time.
This is probably my new favorite song. Every single line means something diffrent for both singers. This is a break up song sung by two opposite perspectives of a break up, just by changing the perspective of how you read the lyrics they mean completely diffrent things. One of my favorite examples is eurydice calling orpheus a "theif" for stealing her freedom, and orpheus calling her a "theif" for stealing his happiness. The entire song is like this and it's honestly beautiful.
I definitely am. This song just reminds me what awaits me when I die. No more concerns. No more stress. No more depression or anxiety. No more painful moments at all. Just simple release from all things, even existence. It makes me smile when I consider my own mortality.
I cried the entire time the first time I got here... like, full-on wept. I can't think of another moment in a video game that has ever made me feel this way. I still choke up when I listen to it now.
This performance is simply fantastic! The way the Solos and Duet blend together seamlessly is a testament to the incredible talent of these musicians. Hades truly has an exceptional soundtrack that deserves more recognition, and I'm glad to see it getting some love here on RU-vid. Keep up the great work!
Fun Fact: The first time I ever escaped the Underworld, when I returned, Orpheus was singing this for the first time. It was actually kinda poetic, considering this was the first time he sang in the game
Ngl. I came to tears when I heard Orpheus singing this the first time. Despite dying so much, it made me feel like I was kinda doing something right. Def a warm feeling.
I really like the faces on the Lyre, especially the lower one. The upper one wishes he could sing as well as Orpheus. And the lower one seems like he's thinking, "Hey this guy's pretty good!". As talented as Ashley Barret is, for some reason I really like the way Orpheus sings the song. Especially when he sings it for the first time.
Every time I hear this I get goosebumps. The first time I stumbled on Eurydice singing was absolutely magical; I spent a good 30 minutes in a state of shock listening to her singing.
Both singers did an amazing job on this, it definitely stopped me in my tracks the first time I heard it however, the thought crossed my mind that the voice for Orpheus sounds like a really depressed Winnie the Pooh and now I can't get that imagery out of my head :P
We learned last night that my grandpa had passed away very suddenly. This song had been in my watch history recently and I hit play again on a whim. It’s still a phenomenal song, but it hits incredibly hard now
The death never touched me before. At least one year ago. The first time I heard this, I thought it's just a nice music. I didn't play a year, and during this my best friend died at the age of 24 in a military operation. I played this game a month ago, and I forgot that this song existed. When I entered her chamber, they were singing the duet. I just sit there and cry for 10 minutes. My friend was a phenomenal person. He was studying in 3 universities at the same time, and he was a also a military officer (my country allows this). He purposely went on a deadly mission, and he knew he will die. I just can't stop missing him. He was a kind of a person that you know is better than you. We had such wonderful plans. He was in love with a girl. At last, can rest his bones. No more contracts, my friend....
The mission was about evacuating people from a city that was being attacked and sabotaged and bombed. The colonel didn't give an order because he knew that those who participate, will die. He asked for volunteers, my friend went the first. When he got shot in his leg, he didn't retreat because he said if he goes back, all his soldiers will go back and the mission will fail, and civilians will die. After the successful operation, he got shot in the stomach. His body was moved to operation, but there's was not enough time to save his life.
Such a beautiful song, I was so glad to find out you can reunite them in the game and they even sing a duet together. Hades was one of the best games I played in 2020, an absolute delight to play.