#MINECRAFT SONGS FULL#
“The End” is a 15 minute piece for the namesake in Minecraft, a place called “The End”, a dark and sinister place full of creepy things called Endermen. Sometimes creativity doesn’t need to have a reason. At minute 7, the song abruptly builds up to nothing and fades away.
Like all the other “creative mode” songs, this one is also about the awe of the creativity to be found in Minecraft. I hope I accomplished to have repetition that nonetheless isn’t boring in any way. And with “Dreiton”, the are essentially only two sections on a song that clocks in at over 8 minutes. Turns out there was no reason to have such a fear. When I was still keen on making my music as crazy and varied as possible. When I was still scared to embrace minimalism and simplicity in music. “Dreiton” is a remembrance of the times when I wrote albums like Zweitonegoismus. This album is now in the progress of changing tone rapidly, but not before going to “The End.” “Beginning 2” is just like “Beginning” on Alpha, perhaps the end to the album, or just the beginning. It was shocking, but I didn’t want to remember them for their death, but the happiness they showed every day of their life. “Taswell” is a farewell to a friend I only met for a little bit, but they passed away faster than anyone could have imagined. It’s awe inspiring, and that’s what I wanted to kind of symbolise. Gigantic statues, entire cities, paintings, people, all recreated in this game. I wrote it with the beauty of the more extreme creations in Minecraft. “Aria Math” is a song full of Pan Drums and old synthesisers rhythmically dancing to ping pong delays. It’s also one of the creative mode songs. This song tries to play with the idea that even hell isn’t all bad, and there’s good things to be found.
Or as it is called in Minecraft, “Nether”. “Haunt Muskie” is what I remember that music to be. The music wasn’t particularly good, but the emotion it carried was something I always remembered. Some game where you solve puzzles of broken rollercoasters you have to fix. There was this fairly old video game I used to like. It turns out it is a little bit popular though. This song is very nostalgic for me, and I didn’t expect anyone to like it but just me. Not entirely sure why anymore, but there you go.
“Haunt Muskie”, if I remember correctly, an anagram for Hatsune Miku. I do love minimalism and achieving tones with just very few notes, and I think this song does that extremely well. It’s one of my favourite songs I’ve ever created. “Biome Fest” is a song that I created when Minecraft Alpha was done, but I felt it had no place anywhere in the game, until the creative mode was sort of reintroduced to the game. However this time I actually did use Moog synthesisers, along a lot of other synths that I acquired over the course of making this album. “Moog City 2” is a recreation of “Moog City” from Minecraft Alpha. As the piece ends, it becomes very melancholic and solemn, but quickly returns to being positive. I tried to create a piece that doesn’t particularly change much, but keeps reiterating on itself, like a constant remixing of its core theme. “Blind Spots” is the first song I wrote with the clear intention of having a unique soundtrack for Minecraft’s “creative mode”. It acts as the score that plays when you “beat” Minecraft, but it also acts as a celebration of past music from Volume Alpha. But this time it’s not quiet, somber and welcoming, but dark and foreboding. “Ki,” like “Key,” on the previous album is an introduction to the album. That song you can find on the previous soundtrack, Volume Alpha. And a lot of the “creative mode” songs are at least around 8 minutes in length.Īdditionally, this soundtrack contains the collectible records, which are little vinyl songs you can find in Minecraft, the game. “Alpha”, being 10 minutes, while “The End” clocks in at 15 minutes. Some of the songs even have percussion, which is something that was a complete rarity with Volume Alpha. The big difference of Volume Beta is that the tone is both more positive and at times very dark. Aphex Twin also once said I stole his style. Critics like to compare the style of my album to Erik Satie, Roedelius, and Brian Eno. This is the second part to the official soundtrack to the most popular video game in recent history.
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