Awesome Music / Tekken

As this is an Awesome Music page, spoilers will be left unmarked. You Have Been Warned!

Tekken has some of the most Awesome Music you'd find in a fighting game. Namco Sound Team, we love you.

Tekken 1

The first game had relatively more subdued music than the rest of the series. Most tracks, however, were deemed worthy to be reused for the second game (the following links are for the re-arranged versions):

• Marine Stadium, Japan. An energetic track to kick off the first Tekken game, which was reused in the sequel for Bruce.
• Angkor Wat, Cambodia. An exotic theme that fits the jungles of Cambodia perfectly, which was reused in the sequel for Kunimitsu.
• Acropolis, Greece. It feels like the soundtrack to a big confrontation, which it does end up being if Heihachi is fought here. Reused for Kuma in the sequel.
• Windermere, UK. A high-octane and fast-paced song that feels like something out of a spy movie, perfectly fitting of the land of 007. Reused for Prototype Jack in the sequel.
• Szechwan, China. An Eastern-inspired song with elements of techno mixed in, which fits both the location and the character it was used for in the sequel, Wang Jinrei.
• Fiji was used for Roger and Alex in the sequel. So awesome that it got remixed for Tekken Tag Tournament 2, more than 15 years later!
• Kyoto, Japan was used for Ganryu in the sequel. Bonus points for its awesome title: "All Things Are in Flux and Nothing is Permanent".
• Monument Valley, USA was used for Armor King in the sequel. One of the most unsettling BGMs you're likely to ever hear in a fighting game, it really does evoke the feeling of being stranded in the middle of the desert and fearing for your life. The title? "Here is the Point of No Return".
• King George Island, Antarctica was used for Anna in the sequel, even though her stage is the Taj Mahal, India. A really soothing song that fits the serene beauty of snow. The title: "Almost Frozen".
• Chicago, USA was used for Lee in the sequel. A fun jazzy sounding number, that fits the city quite nicely. The title: "It Makes Me Higher".
• Venezia/Venice, Italy, the only stage BGM NOT used in the sequel, suits the beauty and grandeur of the city of canals. The title is "Surprising Truth".

Tekken 2

The early games were ripe with awesome music, as par for Namco games in the 1990's.

• The character select theme lets you know that things have taken a turn for the worse since the first game. If that doesn't suit you, then chances are that the more lively arranged version used for the PlayStation port will.
• Heihachi Mishima, King of the Iron Fist. With Heihachi now taking center stage in Tekken 2, he gets a theme that conveys his strength and rage, making him feel nigh-unstoppable.
• Black Winter Night Sky, the opening theme to the second game. See Memetic Mutation.
• Jun's theme, Morning Field. The stage it plays on is a beautiful grass clearing, and the music adds to its relaxing effect.
• King's theme, Ring A Bell, starts on a grand note as though introducing the atmosphere of a church, before transitioning into fast-paced techno as the fight continues.
• Law's theme, Two Different Sides. The soundtrack really captures the atmosphere of fighting in China.
• Paul's theme, Paul's Miracle Death Fist. A great mix of funk and electronic music.
• Yoshimitsu's theme, Head Shaker. The soundtrack captures the atmosphere of fighting in the middle of a thick forest; haunting and beautiful all at the same time.
• Baek's theme, Eastern Dance. Unique among the mid-boss themes as the only one not taken from Tekken 1.
• Kazuya's theme, "Emotionless Passion". Japanese guitars, percussions, and electronic sounds all combine to make for an intense soundtrack as you fight the boss of the game. Even now, many still consider it the best piece of stage music in the entire series, particularly the arrange version for the console release.
• Devil Kazuya's and Angel's theme, "Be In The Mirror". The song features a more downtempo rendition of the main melody of "Emotionless Passion" as you confront the True Final Boss, the Devil residing in Kazuya (or Angel if you're playing as Devil).
• The arcade version of Kazuya's stage, with its drums and haunting instruments. It later got used in Tekken 4's Tekken Force mode and was the music for Kazuya's Super Smash Bros. Ultimate trailer.
• Nobody Catch Me, Michelle's theme. Despite the Engrishy title, it's both energetic and relaxing, resulting in pure awesome.
• Landscape Under the Ghost -KAMINANO-, the Ending theme. One of the singers eventually went on to voice Asuka starting in 5.

Tekken 3

Tekken 3 began featuring more rock and electronic music compared to the first two games. It also introduced a few of the composers who would go on to make the most iconic soundtracks of the series, including Nobuyoshi "sanodg" Sano and Keiichi Okabe.

• The hidden characters theme by Nobuyoshi Sano is great to rock out to. Julia's theme in the PS1 version is based on it.
• Forest Law's Theme doesn't sound like all that but gets better the farther it goes.
• Jin's theme (by Keiichi Okabe) is another solid rock piece.
  • PS1 remix has some more techno elements to it.
  • The arcade version is nothing to sneeze at either.
• Nina's theme (by Keiichi Okabe) is an awesome bass guitar-driven track.
• Paul's theme by Nobuyoshi Sano is a nice rock song that keeps you on your toes with its seemingly discordant rhythms.
• Heihachi's return is marked with an ominous rock-inspired theme that conveys his toughness, even into his elder years.
  YouTube commenter: These sirens aren't the cops. They aren't dumb to try and arrest Heihachi. It's just the ambulance coming to take care of Heihachi's next victim.
• Kuma's and Panda's theme (composed by Keiichi Okabe) is probably one of the most criminally overlooked tracks in the entire series.
• Mokujin's theme (courtesy of Nobuyoshi Sano) is driven mainly by one bass line looping throughout the entire track. Bonus points for incorporating some actual wood sounds into the loop! It also happens to be a "wooden" remix of Yoshimitsu's theme, which is an awesome track in its own right!
• The two console-exclusive secret characters actually have awesome themes of their own. Unlike the other soundtracks, a different composer (Minamo Takahashi) made these tracks, but they still manage to fit with the rest of the album.
  • Gon's theme.
  • Dr. Boskonovitch's theme.
• Ogre and True Ogre's theme. Usually split into their individual parts, the song is actually better off as one complete track. There's a bridge which plays once Ogre is defeated, which denotes his transformation into True Ogre. The same composer (Nobuyoshi Sano, or sanodg) would later go on to use the same technique in Tekken Tag Tournament 2 for Jun and Unknown.
• Ling Xiaoyu's theme is a lot tougher-sounding than you'd expect.
• Tiger Jackson's theme is more rock-influenced than disco, but still makes for an awesome song.
• Eddy Gordo's theme. A nice, funky guitar melody set to a groovy electronic beat; perfect for the series' first Dance Battler.

Tekken Tag Tournament

This soundtrack ventured more into a more techno/electronic theme, with a lot of the tracks incorporating vocoder sounds. This album also marks the introduction of Akitaka Tohyama and Yuu Miyake, two more of the series' most notable composers. On a sadder note, this was also the final game Nobuyoshi "sanodg" Sano worked on before he left the Namco Sound Team.

• Yoshimitsu's theme by Nobuyoshi "sanodg" Sano — probably the closest a song from the soundtrack came to having distinct lyrics until Tekken 5's console opening theme.
• Ogre's theme, by Keiichi Okabe, sounds perfect for a ritual for a deity like Ogre himself.
• Hwoarang's theme, also by Keiichi Okabe, is a very fast-paced jungle-dnb song, and is quite fitting for an unbeaten taekwondo fighter.
• Paul should be proud to have the most rocking theme song in the game, courtesy of Akitaka Tohyama.
• Nina's theme, also by Tohyama, is nothing to sneeze at either.
• Unknown's theme (by Keiichi Okabe), is one of the most maligned tracks in the Tekken soundtrack.
• The Opening theme, courtesy of Akitaka Tohyama. Some loyal fans of the series will probably recognize Tekken Tag Tournament 2's console opening theme as a remix of this very track. You wanna know how awesome it is? It got into Super Smash Bros. Ultimate.
• The Staff Roll is the most distinct piece in the OST, and absolutely beautiful.

Tekken 4

Tekken 4 has a very underrated soundtrack, especially for the series itself. It also features probably the most diverse soundtrack in terms of genre, venturing from trance, electronic, rock, to world music, among others. Comparatively, it's notably slower and calmer than other soundtracks, rather fitting the transition from the quick, high energy fights of 3 to the slightly slower, more technical battles of 4. A new composer was introduced in this game as well: Satoru Kosaki^note For reference, as well as to show how much of a mark he made in this soundtrack, every single track listed under this folder is a composition of his, unless otherwise indicated.

• A Fist for a Fist, the console opening movie theme, accompanies the triumphant return of Kazuya Mishima into the series canon.
• Touch and Go is a favorite.
• Authentic Sky is a very calming soundtrack. Sadly not part of the soundtrack: this version of "Authentic Sky" includes a drum track which would play at the end of a match.
• Bit Crusher is an awesome electronic/jazz fusion track.
• The Inner Shrine, the Hon-maru track, is a calm yet intense tune, especially considering the Story Mode battles that take place here. It also stands out due to being the only song in the soundtrack made by a different composer, Hiroshi Okubo.
• Uninhabited, the Mall theme, composed by Akitaka Tohyama. An old-school electronic track in the vein of the older Tekken games.
• The Strongest Iron Arena, the Arena theme, has a fitting "big fight feel" sound to it to match the MMA-esque octagonal cage Heihachi proclaims as the site for the King of Iron Fist 4 championship match.

Tekken 5

This soundtrack featured more rock/nu-metal tracks, making for, if not universally appreciated, at least very memorable music.

• Sparking, the console opening theme. Notable for being the first song in the series which featured actual vocals.
• Three words: HALL OF FATE. Ryuichi Takada's track is so epic that it became one of the most listened within Dark Resurrection.
• Moonlit Wilderness. Easily one of the most atmospheric stages in the series, set in a serene grassy field outside an ancient castle lit only by a giant full moon and complemented with a mesmerizing theme to set the mood.
• Crimson Sunset, the theme song for City At Sunset by Rio Hamamoto, is a perfect Blade-esque industrial rock piece for Raven's home stage.
• Streets, the theme in the Acid Rain stage. On certain occasions, the game plays a remixed version of the theme, Street Wise (Asura Mix). Both were composed by Satoru Kosaki.
• Ground Zero Funk by Kohta Takahashi is perfect for the Mishimas. It's also a remix of a piece called the "Beatitudes" commonly attributed to Tomaso Albinoni.
• Formless Like Water, the theme for the waterfall stage. Surprisingly spiritual and ethereal, but with a heavy, funky bass beat. Estrada da Estrela, the remix from Dark Resurrection, is even better. Both courtesy of Akitaka Tohyama.
• Snow Castle by Masaru Shiina.
  • Its predecessor, Antares, is so good it was used as the theme for Soul of Devil Jin in Soulcalibur V. Its composer, Junichi Nakatsuru, eventually became the musical director for Soulcalibur V.
  • Massive Stunner, the song featured in the "Secret Garden" stage, is another memorable piece. Despite being one of the most fast-paced tracks in the series, it fits the stage's atmosphere surprisingly well.
  • Ka-En-No-Mai, the theme song for Hell's Gate, is an intense but very fitting track that sounds like it came straight out of a samurai movie.
• Stage 2 of Devil Within uses this wonderful techno track as its theme.
• The theme that plays whenever you face Jinpachi, The Finalizer, is hands down one of the best boss musics in Tekken history.
• Armor King's ending theme from Dark Resurrection is sweeeeet; a kickass riff plays as he tombstones King, followed by a tropical beat as he walks off into the sunset.
• Call of the Inferno. Take "Crimson Sunset", but make it slower with a different arrangement.
• The Poolside theme is very upbeat and relaxing.
• The aptly named Supercharged, which serves as theme for Dark Resurrection's "Industrial Complex" stage, is an energetic and unforgettable track.

Tekken 6

This soundtrack mixes the Genre-Busting soundtrack of Tekken 4 with the heavy metal and fast-paced music of Tekken 5. An ongoing theme among the songs seems to be a push-and-pull between clean, orchestral music, gritty, rough rock riffs and synthesized electronic sounds.

• Two against the darkness, the console opening movie theme by Rio Hamamoto and Ryuichi Takada. Even out of context, it's a very rousing track. The impressive thing about this track is how perfectly each musical phrase matches up with almost every scene in the opening movie itself. To break it down a bit: the military-sounding intro accompanies Jin briefing his Mishima Zaibatsu army (including Nina), which ends on a dissonant note as the scene shifts to Miguel carrying his dead sister and screaming in fury. Then the music quiets down to violins as Zafina makes her way to Azazel's temple, and a mournful horn section accompanies Leo laying flowers on their mother's grave. Suddenly the music shifts to heavy metal as Bob fights off bank robbers. The violins are emphasized as Asuka and Lili face each other, transitioning into hard metal riffs as Paul and Bryan are dueling. The imperial-sounding horns then alternate with the metal riffs as we see Kazuya fighting alongside his G Corporation men. Finally, the rousing climax of the soundtrack accompanies Zafina opening the temple and the shock on her face as Azazel awakens and starts to break free from his restraints.
• Bloodline Rebellion's opening theme, Burning. Amazingly badass guitar riffs, perfectly suiting the Opening's scenes of Jin on his motorbike, the introductions of the newcomers Lars and Alisa, and the iconic Cross Counter between Jin and Kazuya.
• Yodeling in Meadow Hill by Keiichi Okabe, the BGM of Hidden Retreat in Tekken 6 is seen by some as a bit too silly for a game like Tekken, but others think this song is AMAZING. In 2019 it serves as the background music of a new alert for ProtonJon, with guest appearances by Resident Evil characters Albert Wesker (as the presumed source of the song's yodeling) and Chris Redfield, who punches a boulder at Wesker after yelling his name.
• Arisa, the theme of Anger of the Earth, by Masaru "Go" Shiina. Gives off that apocalyptic Middle Eastern feel to it.
• Karma, the theme of Electric Fountain from the pen of Akitaka Tohyama. A fast-paced techno song with One-Woman Wail, considered by many to be the defining song of 6's soundtrack.
• G, the Go Shiina-penned theme of Fallen Colony, actually had three versions, one for the Arcade version, a special 5.1 Surround Sound version mixed specially for the console versions, and the OST version, called the Blast Version. The link has all three of them mixed together, completing the song.
• Edge of Spring by Keiichi Okabe, for the Mystical Forest stage. Very serene and peaceful.
• Splashing Casino, for High Rollers Club, by Keiichi Okabe. What could be more Vegas-like than a jazz piece like this during fights?
• Ethno Evening, for Temple Grounds, also by Keiichi Okabe. The resonant operatic vocals alternate beautifully with the pounding drums and electronic melodies.
• YUKI, for Manji Valley, composed by Yoshihito Yano. The koto and strings go well together in this imperial-sounding techno piece.
• Only One Fight, for Noh Theater, by Ayako Saso. The guitar at the intro may lead us to believe that it will be an epic rock piece, only for Japanese percussions to roll and mix it with some traditional beats.
• Artificial Ruins, for Urban War Zone, by Satoru Kosaki. So good it was remixed for Street Fighter X Tekken.
• Tunnel Disaster, for the tunnel disaster, by Rio Hamamoto. Epic Rocking in a burning tunnel fight at its finest.
• Fist Festival by Shinji Hosoe, for Fiesta del Tomate, the 2nd secret stage. Just as catchy as Hidden Retreat's theme.
• Blowin' Up the Enemy by Kazuhiro Nakamura, for Gargoyle's Perch. A perfect theme befitting Jin's turn to villainy.
• Sacred dark, the theme for Azazel's Chamber and the main antagonist, Azazel, composed by Keiichi Okabe. Dark and ominous, it really makes you want to utter Oh, Crap! when you face the Rectifier himself.
• Midtown Roars by Ryuichi Takada, for Lightning Storm. A perfect theme for a Battle in the Rain stage.
• Dust thins out, the music that plays during Character Select. What better way to get you pumped up and ready for the next battle? Composed by Keiichi Okabe.
• The Vs. Nancy MI847J theme is a blood-pumping track that fits the powerful robot.

Tekken Tag Tournament 2

Dubstep. Remixes of soundtracks from earlier Tekken games. Snoop Dogg.

• Tekken Tag Tournament Piano Into -Massive Mix- by Akitaka Tohyama. As mentioned above, a remix of the theme from the first Tekken Tag Tournament, more than 10 years earlier.
• The character select theme, "Aim to Win" (by Akitaka Tohyama), is also the theme from the Christmas 2010 trailer that introduced Jaycee and the younger Heihachi. A lot of people consider this the best theme in the game...and it's just the CHARACTER SELECT.
• Dawn Of The Beat, the main menu music in the home version. The game hasn't even STARTED and it's already rocking face!
• Battle Cry, the Online Battle Lobby theme by Taku Inoue. Hypnotic and soothing.
• There are quite a few stages in the game that are revisions of older Tekken stages. As such, they also have remixed themes to go with them. Here are some examples:
  • Moonlit Wilderness - D.T.O. Mix (by Satoru Kosaki) is the updated take on Tekken 5's stage/theme. It's basically "Moonlit Wilderness", with the violins, pianos and most prominently the drums turned all the way up.
  • Sakura Schoolyard - After School Mix by Nobuyoshi Sano updates Tekken Tag Tournament's School stage and theme.
  • Jin Kazama - Far East Mix is a revision by Keiichi Okabe of Jin Kazama's Tekken 3 stage and theme.
  • Fiji - Paraiso Mix, a remix of the Fiji stage theme from the very first Tekken. Doesn't get any more old school than that! Arranged by Yoshie Arakawa^note If you're wondering why there are no composers listed under Tekken and Tekken 2, all arrangements from those games are courtesy either of this composer or Yoshie Takayanagi.
  • Snow Castle - Mundus Arrange is what you get when the original composer of the badass Winter Palace stage theme from Dark Resurrection (Masaru "Go" Shiina), takes inspiration from his work on God Eater Burst, transforms it into an even more badass version with full orchestra, and makes it sound like something straight out of Soulcalibur. Wow. Includes Ominous Latin Chanting.
• Fantastic Theater, the Keiichi Okabe and Keigo Hoashi-penned theme for the DLC stage Odeum of Illusion. An awesome (and insanely catchy) fusion of jazz/swing and Tekken-style techno.
• Mystic Force, the theme for the DLC stage Extravagant Underground. An amazing orchestral piece befitting a luxurious subway station in Russia. Also composed by Keiichi Okabe and Keigo Hoashi.
• The Big One, the Yuu Miyake-composed theme for the DLC stage Moai Excavation. The OST version (the one linked) is called the "Quiet Strings Mix", and adds some violin sections that are not heard in the game version, which is called the "Corpse Kicker Mix".
• Knocc 'em Down: what happens when Snoop Dogg meets Tekken. Made even sweeter by the appearances by respected fighting vets like Justin Wong, that this will play in Snoop's own stage and that apparently, the Doggfather's One of Us Tekkenites.
• As a special treat for the console version, the new Ending theme is a remix of Tekken 2's Ending theme, called Landscape Under the Ghost -KAMINANO- (AD2012). Sung again by Ryōko Shiraishi, now recognizable as the voice of Asuka Kazama.
• Taku Inoue's Your Sunset, the soothing and nostalgia-inducing customization theme. Yes, even the customization theme is outstanding.
• Tekstep Fountain, the Fontani di Trevi stage theme by Akitaka Tohyama. When the Tekken composers decide to do Dubstep, they don't mess around - they make it AWESOME.
• Abyss of Time, the Indonesia stage where a Wayang Kulit ("shadow puppet") stage is performed in the background. Abyss of Time is often compared to Tekken 6's Karma/Electric Fountain due to similar tunes, but what sells the song is the Indonesian woman's vocals. Its composer, Akitaka Tohyama, not coincidentally also composed the tracks "Karma" and "Hacked" from the Tekken 6 soundtrack, both of which closely resemble this track.
• Plucking Tulips, the Netherlands stage theme by Akitaka Tohyama, is just as catchy, having become an iconic tune rather quickly in the fandom, with its trance melodies quickly bringing to mind the country's bustling EDM scene and producers like Tiësto and Armin Van Buuren. Fun Fact: the game version, which has a shorter intro, is called "Plucking flower field".
• What you will see, Jun's and Unknown's theme, a triumphant return from the series' original composer Nobuyoshi "sanodg" Sano. It is actually split into two parts: Heaven and Hell. The "Heaven" portion, used for the Heavenly Garden stage, starts as soft, gentle trance. But during the bridge it transitions into a Scare Chord before becoming the "Hell" portion, used for the Fallen Garden stage. This variant is pure, chaotic Dubstep.
• The Wii U version adds, as one of the Tekken Ball tracks, the Go Shiina-penned High School Love. It's an intentionally cheesy song, and an awesome and hilarious departure from the rest of the music in the game.
• There are also three new remixes of Snow Castle added to the Wii U version, called the Dead Person remixes and composed and remixed by Go Shiina. Each one incorporates elements of certain themes affiliated with the character they represent: Devil Jin (Antares + Snow Castle), Jinpachi (Gold Rush + Tiamat + Conclusion + The Finalizer), and Ganryu (Quiet Interim Report + Formless Like Water + Estrada da Estrela).
• IT'S NOT A TUNA! begins as a somewhat soothing mariachi tune. Then the record suddenly skips and the song becomes a pulse pounding schranz tune. When was the last time a video game actually had schranz techno in it?
• Baile de Batalla, the Fireworks Over Barcelona theme: An intense number fusing techno with Spanish music. This was so good that they used it during the Tekken 7 Reveal Trailer for Tekken's resident Badass Spaniard, Miguel, all while Miguel is delivering Badass Boasts and a No-Holds-Barred Beatdown against Jin Kazama out of revenge for his sister.
• The Wii U version of the game include a mode that involves collecting Mushrooms and Super Stars for power ups. In this mode, techno remixes of the Overworld theme, Underground theme and the Underwater theme from the first game can be heard, and they are AMAZING.

Tekken Revolution

This game soundtrack is more reminiscent of that of the first Tag game, particularly the vocoder sounds and the industrial/electronic influences, mixed with a lot of dubstep. It's probably not that much of a stretch to assume that this would have been the soundtrack of TTT2 if not for the decision to remix the classic BGMs instead for that game.

• "New World Order", the main menu theme song, has a sense of melancholy to it, in contrast to Tag Tournament 2's main menu theme.
• "Blood, Sweat, and Fists", the character select theme is stupidly catchy.
• "Kodama Starship", the online menu theme, instills a feeling of hope.
• No Easy Way Out, the new theme of the Moai Excavation stage. An intense electronic track that sounds like it would fit well in a heist/thriller movie scene.
• Lunar fringe theories, the new Moonlit Wilderness theme. The track features serene vocal sounds set to a catchy electronic beat, which goes well with the setting of fighting inside the Moonlit Wilderness stage.
• Chopper, for Sakura Schoolyard. The song mixes slap-bass with dubstep for a good pulse-pounding soundtrack.
• Everlasting Heaven, for Eternal Paradise. Another good mix of dubstep, this time alternating with some acoustic guitar strumming.
• Francoise's Bassline, for Riverside Promenade. The song is clearly electronic, but brings more focus to the more softer sounds of guitar plucking and strumming.
• Self destruct, for Historic Town Square. The song builds up in intensity as the hard strumming of distorted electric guitars gets progressively louder.
• Q, the new Hall of Judgement theme, gives the stage a creepy sense of foreboding, in contrast to the "Jin Kazama" theme remix from TTT2.
• Night Rises, the Event theme. It's a simple but uplifting melody, which is also a very subtle Call-Back to the TTT2 credits theme, "Night Falls", which also features the same musical phrase in a different key.

Tekken 7

Akitaka "AJURIKA" Tohyama, Taku Inoue, and Rio Hamamoto take over the audio direction for this game. The result is a mostly-techno, dubstep, and industrial-filled soundtrack. For the first time in the series, there are now alternate "match point" versions of the stage themes for when a player is one round away from winning the set.

• Arctic snowfall 1st, the theme of... Arctic Snowfall. Who knew electronic could create a majestic song that fits well for the coldest battle. Also Arctic snowfall 2nd, the final round version of "Arctic Snowfall" with beautiful background bass and piano. Performed by Keiichi Okabe.
• Ruin 65 1st, and Ruin 65 2nd, the themes for the Forgotten Realm stage, composed by Taku Inoue. The first song is mostly a drum-n-bass track interspersed with some Eastern-style percussions and horns, which fits well with the setting. The final round version goes all-out with the heavy electronic distortion while maintaining the same beat, emphasizing the urgency of the match coming to its conclusion.
• The day before the glass matrix 1st, the theme of the Twilight Conflict stage. Notable for being the only track in the game (2nd version notwithstanding) to be composed by original Tekken composer Nobuyoshi "sanodg" Sano. Also The day before the glass matrix 2nd, the final round version of the Twilight Conflict theme.
• Volcano 1st, the theme of the Devil's Pit stage, and Volcano 2nd, the final round version of the Devil's Pit theme. The initial track is a fast-paced piano and electronic track that builds up but only up to a point; while the final-round version amps up the tension with some haunting choirs as well as violins and electronic guitar riffs that keep up the pace.
• Kazumi's Theme. Exactly What It Says on the Tin. The theme of the final boss, Kazumi Mishima. Also Devil Kazumi, the final round version of Kazumi's Theme.
• VREDE, the theme of Lars. A metal number performed by Swedish band BatAAr. This is a secret final round theme which can only be accessed on the Twilight Conflict stage if Lars is one of the characters being played.
• "Hideaway 2nd" was the original main theme for Duomo di Sirio (and originally before that the music used in Nina Williams's Fated Retribution trailer; it was removed from Duomo di Sirio starting with the pre-release builds that featured Eddy Gordo, Kuma, and Panda). While Duomo di Sirio would be more apt for a classically European-styled theme (and the final game's theme for the stage is more in line with this), this unique-sounding techno theme gives the stage an interesting atmosphere that contrasts the old-world stylings with a more modern touch. It was eventually re-used in the console's Story mode during a battle with Nina.
• Moonsiders 1st and Moonsiders 2nd, the themes for the console-only stage Infinite Azure. The first song goes very well with the relaxing setting, with light piano melodies set to a bouncy electronic beat. The final round version in turn speeds up the song and includes a lot of drum-n-bass distortions.
• Precipice of Fate 1st and Precipice of Fate 2nd, the themes for the stage named, well, Precipice of Fate. The first song has a slow buildup but heightens the tension right away once the song gets moving, and the final round version amps it up even further.
• Solitude, the console version's Menu music. Probably the best Menu music of the entire series; easing you into the game with a light, beautiful repeating piano melody while electronic beats and drums hold up the rhythm of the song. It received a remix in Season 2 that adds in a serene guitar solo.
• Midnight Closet, the game's Customization theme. Similar to the spirit of "Your Sunset" from the previous game, this is also a very relaxing song, this time featuring an electronic beat accompanied by funky guitars and synth melodies as the bass goes in and out.
• "Heat Haze Shadow 1st" and "Heat Haze Shadow 2nd" serve as climactic and blood-pumping drum-and-bass tunes within the depths of an active and raging volcano. And they are used to especially great effect for the first two phases of the final boss fight in Story Mode. Someone stitched the two together with the version used in the Arcade intro to create a truly seamless and beautiful experience.
• Duomo di Sirio 1st, marking the return of God Eater composer Go Shiina to Tekken. On that note, the song itself is pure Epic Rocking, perfect for the home turf of Claudio, and even features parts reminiscent of "No Way Back". Duomo di Sirio 2nd replaces the Epic Rocking with a full-on orchestra.
• Desperate Struggle, the Final Boss theme for Story mode, is an intense and epic theme that fits Heihachi's last stand and final battle against Devil Kazuya like a glove.
• Brimstone and Fire 1st. Slow, relaxing, yet intense at the same time for a fight on a volcanic setting... but the main event of the stage's theme is Brimstone and Fire 2nd, better known as the theme when Devil Kazuya faces the hardest incarnation of Shin Akuma ever. Faster-paced and darker, it gives off a vibe of helplessness and despair.
• Aloneness, the ending theme for Arcade and Story Mode, composed by Taku Inoue, is the menu song "Solitude" with the addition of drums and actual Japanese vocals, courtesy of Kazumi's voice actress, Yumi Hara. Even with the electronics in the refrain, the whole song still conveys the wistfulness of the lyrics, as Kazumi mourns the tragic fate of her love for Heihachi, and promises in spite of her loneliness to wait for him in the afterlife. And knowing how Story Mode ends, perhaps she won't have to wait long...
• Soy Sauce for Geese -T7 REMIX- (Howard Estate 2nd). Akuma may have missed out on getting a remix of his theme, but Geese certainly did not. This is perhaps the craziest-sounding version of his theme yet. Fast paced industrial rock with actual Japanese instruments.
• APOCALYPSIS NOCTIS - T7 REMIX- (Hammerhead 2nd). As with Geese, Noctis gets a remix of his Leitmotif from Final Fantasy XV, taking the majestic orchestra and mixing it with ample amounts of rock, techno and acoustic guitars.
• Moment of Impact, the theme of Jungle Outpost 2. A brand-new remix of Equator Line from AJURIKA that perfectly fits the new daytime atmosphere of the stage.
• Siren's Call, the theme of Infinite Azure 2. Unlike Moonsiders, this track has many more electronic elements to it while still retaining a sense of calmness and wonder as you battle beneath a breathtaking moonlit and starry skyscape.
• Atrocity 1st, the theme of Negan's Last Day on Earth stage, is a gritty dubstep remix of the main theme from The Walking Dead in the same vein as the G Corp Helipad Night theme. Atrocity 2nd ramps up the adrenaline factor and brings forth a sense of dread.
• Who is it, the Season 3 menu theme. Unlike Solitude and its remix, this time the main menu gives off a sense of foreboding, almost beckoning you to make a decision.
• Pretender, the Season 3 character select theme, will no doubt get you pumped as you choose your fighter.
• The Solitary Warrior, Leroy Smith's Leitmotif, plays on Dragon's Nest as a replacement for the normal final round theme if he's present. It's an amazingly crazy Boastful Rap; the first funky half taunting enemies with what to expect to get from him, and the second half with stronger guitars focusing back on the reasons why he fights as a hard-hitting mission statement.
• Cave Of Enlightenment, Fahkumram's stage theme. The theme is hardcore and fits the mighty and badass Muay Thai fighter himself with a perfect mix of Thai instruments and infinite techno bass dropping. And wait until you hear the Final Round Version, where the pace of the theme speeds up as the round is ending (most likely with Fahkumram winning).
• INARI, the stage theme for the Season 4 DLC stage Vermillion Gates, is an intricate and beautiful mix of classical-sounding Japanese flutes and jazz-fusion rock music, with the main melody carried by the Japanese instruments while the bass guitar and drums drive the rhythm forward. After a long streak of dubstep and electronic music that the series has employed, the song is a welcome return to more traditional-sounding music that seems performed by actual musicians rather than composed on a computer. The Final Round mix somewhat simplifies the musical arrangement, focusing more on a sense of urgency as the fight nears its conclusion.
• The Season 4 DLC stage Island Paradise is a tribute to two classic stages, Poolside from 5 and Beach from 4. Accordingly, both their respective soundtracks were remixed and modernized for their Tekken 7 iteration. The stage begins on the Poolside part of the stage, with its remix highlighting the melodies more and simply staying in the backdrop of the fighting. In a Final Round scenario, or when the stage's balcony is broken, sending both fighters to the Beach part of the stage, the music changes to a pumped-up remix of the soundtrack from 4, ratcheting up the tension of the fight while still fitting the atmosphere of the stage.

Tekken 8

• "My Last Stand", the game's intro theme, is omposed by Yusuke "mifumei" Yamauchi with vocals by Robbie Wyckoff, and it essentially serves as the Spiritual Successor to Heat Haze Shadow from 7, and to a degree, Sparking from 5. Mixing together the high-intensity techno beats from the former and the simple yet energetic lyrics from the latter, this serves as the Image Song for Jin's Heel–Face Turn, ushering in the return of the series' main protagonist after his dreaded turn to villainy to become the symbol of hope that will stand up against his father's onslaught. Fittingly enough, this plays during the final phase of the battle between Jin and Kazuya in the story mode.
• Rio Hamamoto's "STORM RISING", which plays during the initial State of Play reveal trailer and the theme for the Fallen Destiny stage, is an epic track that would best score a Grand Finale (at least to Jin's and Kazuya's arc in particular), this is it. On the PlayStation 5, it plays when the game is highlighted in the PS5 home menu, hyping you up as the game installs.
• "The Decisive Blow", Hiroshi Okubo's theme for this game's Arena stage, continues the series' legacy of high-energy techno with a fast-paced track that serves as the backdrop for all of the veteran character reveals..
• "Twilight Party Cruise" from Celebration on the Seine, by Yusuke "mifumei" Yamauchi, is a jazzy-trance number that is much like the super-spy that calls this his home stage: classy and refined with a smooth saxophone backing up the relaxed yet still intense techno beats as the fighters battle while indulging in the Scenery Porn that is the stage itself. The climax variant places a stronger emphasis on the saxophone, which utterly dominates the majority of the song with a wickedly cultured solo.
• Golden Meadow, the theme of Ortiz Farm, is effectively the sequel to "Yodeling in Meadow Hill" except with less yodeling and more festive Peruvian singing. As the theme of Azucena, it's fittingly hyperactive and peppy for the Coffee Queen. Composed by Shugo Nomura, featuring vocals by Sergio Aucca Surco.
• Volcanic Bomb from Into The Stratosphere, by Akitaka "AJURIKA" Tohyama, is what happens when you mix psytrance with an Ethereal Choir, suitably setting the stage for fighting on a meteor falling through the atmosphere. The climax version changes to an upbeat Drum and Bass song that emphasizes how close you are to victory as the Friction Burn adds in burning molten rock to the stage, setting up an epic climax for what is the final descent back to Earth.
• "Be Stylish" continues the series tradition of having excellent character customization tunes, being a chill lofi jazz track that's perfect for decking out your fighters.
• Silently Boisterous from Secluded Training Ground, by Ayako Saso, is a musical nod to the first two Tekken games and it fits Reina like a glove, considering her true parentage.
• Liberation, 8's Main Menu theme, serves as the Spiritual Antithesis to 7's "Solitude/Aloneness" in more than ways than one. The latter reflects everything literally going to Hell in a handbasket for Heihachi the moment he killed his wife decades ago and what would be his last stand, whereas the former implies that there is a spark for hope despite Kazuya nearly accomplishing his task in Taking Over The World.
• "Colosseum", the theme for Coliseum of Fate, packs the orchestral and choral grandeur you would expect of an arena theme, with it coming dangerously close to sounding like it came out of the Soul Series. The climax version opens with dramatic chanting, to give you the feel that things are coming to a head.

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