hey, what are your favorite soundtracks in the game?
A lot of my favorite soundtracks are the boss themes, but there are some that aren't. I'll get the boss themes out of the way first. Though be warned, I like a lot of the music in SinDec to such an extent I can't choose only a couple favorites.
•Evil Returns
Malachi's battle theme. I'm not very good with discerning instruments, but I like what was used for that song. It feels comforting and cozy but also a bit dark and foreboding. The song itself feels like its name, which I really like.
•Evil Returns (Boss Rush edit)
This song has a heartbreaking melancholy feel. It's slow and feels like a mix of a lullaby and a dirge. Back when I didn't really care about Malachi this had no impact on me, but now that I really like him, it makes it difficult for me to fight Daedalus in the Boss Rush because the song accompanied by what's become of Malachi— the transformation from what he used to be— makes my heart ache. It is beautiful, yet painful.
•Devious Monster
The Jester Spectre's theme. I think what plays at the start and throughout it is a music box? I generally really like the music box-sounding ones. A lot of why I like this song also has to do with the atmosphere of the fight being shrouded in darkness. It's like a blanket of comfort turned sinister.
•The Puppet Lord
Jadon's first phase battle theme. I LOVE songs like this. When I first heard it in my first run of SinDec I was floored by how good this track was and thought surely it wasn't in Find Me because if it was I would've remembered such an amazing song, but no, it apparently was in Find Me 3.2 all the way back in 2018 and apparently it didn't stand out to me given I had zero memory of it. Though the version of it I like is the game edit since the base mp3 file is slower than the game version.
I love the energy of it and how emphatic it is. I love the usage of the sound of creaking like a stage's curtains being drawn back to reveal to all what is about to commence. I love the instrument used in the beginning of it (I don't know what it is?). I like how it gets rather sinister part way through then kind of tones down, laughter occurring at multiple points that make the song more mad but also conveying a sense of power over the audience. I love how it steadily becomes more sorrowful and fades to what tricks people into believing is the end of the song only for the energy to SPIKE back. Like sike! You thought the show was over? No! There is yet one final spectacle for you to see! And then it finally, truly winds down to that same sorrowful end for good this time.
This kind of song when I thought on it, reminded me of a song I'd listened to a long time ago that I loved and still do that is a remix of "The Ultimate Show" from Super Paper Mario, which is very fitting given whose theme that is.
(I am sorry to say though that I don't like Cantankerous Puppet)
•Machines
Asterion's battle theme is SO fucking good. Literally feel like this whenever I listen to it:
And then I become extremely upset when I end up killing him too fast because I'm a moron who sleeps at the inn and boosts my stats as soon as I enter the Industry District instead of waiting until after.
•From Lands Beyond the Everfree
Gaius' battle theme. This song actually brought me close to crying when I heard it. Having seen and learned much about what Gaius has done in pursuit of a cure-all that would save everyone, what he's done to try to rectify mistakes where said efforts just make things exponentially worse and things keep cascading and he's barely staying sane through the sheer grief, anger, and hatred of both gods who got him into this position, but first and foremost, himself for being why everything fell apart to begin with. If only he knew Zaphkiel's intentions, none of this would've happened, he'd believe.
But who knows? Who knows if the End truly was inevitable. We never see the outcome of such a hypothetical. Everything he's sacrificed were all in vain. He lost everyone he held dear by his own hands.
Do you like hurting others?
Having people walk to their deaths in a machine plastered with a notice to not mix ectoplasm and sugar unless otherwise stated. With spectres having slowed to a quantity infeasible in usage as a power source, and using spectres seems to be a highly potent or at least, useful enough energy source to warrant continued usage of them even in the wake of the Third Eye experiment's failure and subsequent banning of that science and its associated technology, well, he's got to bridge the gap in their low numbers somehow.
The end justifies the means.
The lives of the few for that of the many.
Collecting people like cattle to use as an energy source.
...For as much as he tries distancing himself from him, it is interesting how similar they are. Practically a mockery to his efforts in estranging himself from him.
The extents they're willing to go to in their desperation.
Of course, that machine was created by Gaius and is merely utilized by Adam, but the results are still the same regardless of that nuance. If anything, it just compounds how horrific Gaius once was.
...Oh right. This is meant to be about his battle theme.
Hm... To me much of its emotional power is backed by the sheer amount of lore you learn about Gaius and the City. His efforts and what he's lost. It's very mournful when you know the full context, it made my heart ache a bit when I heard it in my first run.
One thing I really like is how while much of the music in the Industry District is metal and very mechanical and harsh sounding and Gaius' theme is no different, the title of the song makes me think of a forest (though that's perhaps because it makes me think of the Everfree forest from mlp...). Despite the song still having more mechanical elements, its very name denotes nature.
Just like him.
I also personally find it interesting that the way the song ends has it rise back up in pitch as though it's about to undergo another beat drop or something, which is fitting given how the song loops in the game. Most themes taper off into a calm before clearly starting back at the beginning, but From Lands Beyond the Everfree pointedly does not do this such that when the song loops it flows surprisingly well into the passionate start.
Fitting, given for all his efforts, he's basically just going in circles. Just when he thought he's finally escaped the Corruption or found what will finally lead to manifestation of the philosopher's stone, he finds he's back where he started— if not worse than that.
•Wicker
The Luminous Spectre's theme. I don't really have much to say except I really like this one and am rather disappointed it's so short. If I could actually tell what instruments play I could offer more, but I generally just cannot tell what instrument plays in any given piece by sound.
•Torn Tether
Adam's normal boss theme. I actually didn't care for this song at first but it grew on me and now I consider it a certified banger. I really like just how chaotic and unconventional it is. It's kind of like Jadon's in that regard, but his is more "out of place" while Adam's is "uncanny feeling", if that makes sense? I love the part where it sounds like it's playing in reverse while also repeating like a broken record.
•War of the Pianos
Rien's theme. Very whimsical and carefree-sounding. Refreshing in a game like this— especially if you just came from Red Zone 0, though in that case it may just give you tonal whiplash from having come from something incredibly depressing to then be quickly met with something so joyful.
•War of the Pianos (50% speed)
Corrupt Judge's and Corrupt Rien's themes. It's somber and feels like a farewell. A lot of what I feel about it I unfortunately can't put into words, but I do find it fascinating how such a whimsical song can become like this just from being slowed down. It also feels akin to a lullaby. It has far more impact in The Judge's battle than Rien's since Rien is just Some Guy in the Nothingness and doesn't have the emotional connection to the player like they do to The Judge. It feels like you're putting The Judge to rest, yet also like an apology. That things didn't have to go this way, but since they have, this is the least you can do for him.
•Blood Legacy
While a slower version plays as Lugosi's theme in the post-Prison Church cutscene and his battle, I prefer the normal speed version. The youtube upload of this song claims it's The Body's theme but I checked both 1.1.2 and 1.1.3 and this isn't true? So unless I'm missing something somewhere, this is false. Still I like how it's a music box-type song. What's more is that my liking for it is bolstered by a seeming pattern of associating Abram with music box songs. Like a dark echo of Hugo (not dark as in evil but as in depressing and bereft of that childlike innocence). While Hearse Song Music Box also plays in Zaphkiel's side of the Arbela Island flashback, Blood Legacy being connected to Abram through Lugosi, Hearse Song Music Box playing for his side of the Layer 3 flashback— and while retconned I'm still counting it, Bittersweet— are all music box-esque songs that have a commonality of not being comforting like one would typically assume of such.
Blood Legacy is powerful and foreboding. It feels like "temptation", if that makes sense. Like beckoning. And I don't know if that's what it is 1:30 into the song, but it sounds to me like a child's laughter. The way the laugh sounds is uncanny and feels evocative of like a spooky ghost child you'd see in a horror movie. It also makes me think of Pepper Steak where there's a sound in it that sounds to me like a weird laugh from something trying to imitate laughter but not getting it quite right. Given the song Pepper Steak is sampled from, I know it to be a sax, but from how it sounds as changed for Pepper Steak, I like the interpretation it's a spectre laughing. Thus, Blood Legacy parallels Pepper Steak in that way.
(This is going against what I said about doing the boss themes first, but since I mentioned it, I might as well say it now, but I associate Bittersweet specifically with Abram and overall the more "OFF creepypasta" feel of Find Me than I do it with Zaphkiel given he's the "normalcy" and purity to Abram's corruptive recursion. The edit of the song that plays in-game (as again, the base file sounds different) gives the feeling of a haunted dollhouse. Paired with the hazy, "rusted" look of OFF's X and the characters trying to follow their programming while their world is falling apart almost as though because such an anomaly is outside the definitions of said programming, they aren't equipped to react to it and instead just continue on as if everything's fine (except for those who have been Corrupted and their code no longer works right)— it perfectly encapsulates the atmosphere of the game. A game that feels like a tape that's been rewound too many times and is suffering quality loss.
Further, when paired with Abram's characterization back then, Bittersweet carries this undertone of being beckoning in an enigmatic yet knowing way that incites a feel of apprehension— in contrast to Blood Legacy's threatening feeling of beckoning. Bittersweet for Find Me literally feels like a request to "Come find me 🙂" while True False doesn't feel as though someone is calling to you. Such a song could only apply to Abram through the effects of what his Corruption has wrought. Though it's interesting that to me, Blood Legacy feels more... mature? Refined? It feels emotionally like silver, but also a dark moonless night (reference unintended but sure), while Bittersweet feels like a dusty old dollhouse or mansion. It feels more childlike, but not strictly immature, per se. It's hard to explain.)
•God Shattering Star
Abram's battle theme in the Sincere Intentions ending route. I love the build up to it preceding the actual battle and the song itself is so powerful and fitting for him in a way I can't put into words. It feels like a reward for suffering through the hell of all those horrors: that this is the song you get to listen to while you battle against the one who brought the world to its knees. That through what you learn of Abram and his friends if you bother to care, makes the emotional impact of God Shattering Star more potent— much in the same way of Gaius' lore to From Lands Beyond the Everfree.
•Hour of Reckoning
The battle themes of the Blue Zone Guardians as well as Zaphkiel in the Blue Reset ending. I don't have much to say about this except that I just like church organ songs like this in general. Songs like this that have organs and a heavenly choir are pretty much guaranteed to be songs I end up liking. An example of such is The Radiance's theme from Hollow Knight.
•Mysteries That Are Unsolved
The theme of Macey's second battle. I like it for a similar reason why I like Bittersweet even if it isn't a music box-type song. The song itself also evokes a mystical sense of enigma. It is curious, to me.
•Endless Hallway (Laughing Gaius battle ver.)
Yes, specifically this version of it. I just like how it sounds.
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That's the boss themes done. When it comes to non-boss soundtracks there aren't many that stand out to me, but I will go through them nonetheless.
•Spool
A classic and perfectly fits and sets the tone of what to expect of this game. It doesn't get old and doesn't lean into "oooh scary ominous battle song in a corrupted game". It's tense and spooky but in an atmospheric way rather than a "setting up for a jumpscare" sort of way which would be exhausting having to experience in every battle barring the bosses and special fights.
•Eyes of a Calmed Storm
The outside theme of the Residential District. Very cozy and sleepy feeling. I never get tired of listening to it.
•Wasted Wonderland (piano ver.)
A profound sort of whimsy. It isn't playful, but more clinical and contained until it temporarily does actually shift into something somewhat playful before becoming almost meek and then smoothly returning to that clinical expression. It then ends in an abrupt and forceful manner that intrigues me.
•Movement in Cargo (Battle)
The slaughter house's battle theme. Verdict:
•Black Waters
Red Zone 0's theme. It's calming but carries an undertone of tension due to the context of the area. A tension compounded upon with the music not changing upon entering a battle until you get to Corrupt Judge. The song itself feels like an echo of what once was.
•Hex_3.1 Reversed
I just like the way it sounds. I even listen to it casually and it doesn't cause me any fear when wandering through Sheol.
•Fatal Error (Sheol Torso Chase 2)
The version of this song that plays in that labyrinth is at 50% speed and I just like it. I was only able to actually listen to it at length thanks to noclipping out of the reach of the Corpse because otherwise you can only listen to it for as long as it takes you to get to the end of the labyrinth and this song is almost 7 minutes. It's not like Hopeless, the song that plays during Gaius' death, that is bizarrely long for a cutscene that most players would get through within a minute since you can just wait on one of the dialogue boxes to listen to it at your leisure. With this version of Fatal Error, unless you chose to talk to one of the inmates so that you're impervious to the insta-crash of the Corpse, you are not going to be listening to this song in full.
•Home
I love this song and the ending it plays in. It's hard to listen to without wanting to cry.



















