Kung Fu Games is a brand-new Paramount movie about lethal martial arts fighters who find themselves in a small room. They have nothing to defend themselves with, except their own bodies and skills. As they fight to the death, they are being broadcasted on the internet as gamblers bid on who will win, or live. The thriller currently scores a 3.3 out of 10 on IMDb and has yet to receive enough ratings on Rotten Tomatoes platform. Regardless of if you are interested in watching the movie or not, the soundtrack is definitely worth listening to. Composer, Tommy Simpson, of Macro/micro, is the mastermind behind the majority of the original soundtrack, with only three songs not being written/performed by him.
“With the score, I was tasked to highlight and embody the feelings of existential dread that our heroes are consumed by in the ‘Void Rooms’ in-between battles, and ferocious, high-energy electronic music to match the adrenaline rush of the fight scenes.” – Tommy Simpson
The soundtrack spans over an hour and ten minutes of original music, with a total of 27 tracks. Rock the Pigeon is thrilled to dive into some standout songs from the collection.
The album’s second track, “What Where Why How Who,” sets a mysterious tone right away. Its bending string arrangement and eerie layers of modular synthesizer create an unsettling atmosphere. As the song unfolds, tension builds, eventually evoking a sense of danger. Toward the end, a beat emerges, reminiscent of determined, purposeful footsteps. This track flows seamlessly into “Fight 1 – Bamboo Forest,” an industrial piece driven by dark, razor-sharp synthesizer lines. The drums and pauses give listeners a sense of the fight’s progression, with composer Tommy Simpson precisely timing the music to highlight every on-screen hit.
Tommy Simpson shares that “Fight 2 – Dojo” was his favorite track to create, especially since he had the chance to use one of his go-to synth patches. This piece takes an even more industrial turn than the first fight song, with synths that hum with a gritty, buzzing edge. Packed with electronic feedback, dark chords, and haunting progressions, the recording evokes an intense, uneasy atmosphere that suggests the fight’s brutality to the listener.
Following “Fight 2 – Dojo” comes “Void 2 – The Yawning Abyss,” a brilliantly titled track that encapsulates a sense of impending doom. With each beat resembling footsteps, it feels as if a countdown to catastrophe is underway, sending chills down your spine. Even if listeners aren’t sure what’s unfolding on screen, the track immerses them in the characters’ emotions. This haunting song heightens the tension, especially toward the end, where a high-pitched, bending synth cuts through, intensifying the unease. Static lingers for the last 10 seconds, leaving a lingering, unsettling impression.
“…Shaw Brothers” shifts the tone of the soundtrack and offers listeners another showcase of Tommy Simpson’s composing talent. This track brings a massive, orchestral sound, with swelling brass that creates a cinematic impact. The percussion is particularly experimental here, evoking the playful, dynamic feel of a cartoon score. Percussion drives the piece, with unexpected piano notes adding a quirky edge to keep listeners engaged. The track flows seamlessly into “Fight 3 – Tides Turn,” setting the stage for the next intense scene in the thriller film.
“Fight 3 – Tides Turn” kicks off with a powerful, driving beat that immediately captures the listener’s attention. The intense kick drum and intricate rhythm build a sense of urgency and dread, immersing us in the high-stakes energy of the fight. With layered synths and complex drumming, the track reflects the fighters’ skill and determination—they’re clearly battling for their lives. Toward the end, the music shifts to a haunting synth pad, signaling that the fight has claimed a life, leaving a ghostly final impression.
“Fight 4” unfolds in two parts, each just over a minute-long. These tracks maintain the intensity of previous songs but offer a brief, slight reprieve from the deeply haunting atmosphere. Both parts are rich with synthesizers, with “Fight 4 – Subway, Pt. 1” featuring one of the soundtrack’s catchiest synth lines, definitely a track to replay. This song transitions seamlessly into “Fight 4 – Subway, Pt. 2,” which ramps up the energy with two contrasting synth lines that dominate the mix. The rhythm section here is industrial and experimental, adding to the high-energy, driving feel of both tracks.
“Betrayed” is arguably one of the soundtrack’s most captivating pieces. The song features lush string sections that pay homage to martial arts traditions, accompanied by two distinct piano parts: one offering warm, resonant chords, while the other, a high-pitched, toy-like piano, plays a haunting melody. The track builds beautifully, gradually shifting into a darker, more somber tone as it reaches its end.
“Fight 5 – Tea House, Pt. 1” and “Fight 5 – Tea House, Pt. 2” are another two-part composition. The first part, just over a minute-long, draws heavily on traditional Asian instruments and styles, with flutes taking the lead and creating a hauntingly hollow atmosphere. As the track progresses, a thick synth layer joins the flute, marking the transition into “Fight 5 – Tea House, Pt. 2.” Here, the synthesizer gradually takes center stage, filling the soundscape with feedback and tension. The BPM increases as the fight gets more intense. The track really tells the story of what is happening in the movie. These tracks are anything but simple, each is a musical masterpiece, weaving intricate layers and textures.
“If I had to pick one, my favorite would probably be Fight 5 – Tea House Pt. 1 & 2. It was also the most challenging to record, as I had to weave several different recording techniques into a cohesive whole. In the film, this was the one fight that referenced Japanese marshal arts culture, so we wanted to explore blending traditional Japanese instruments into the sonic nightmare. Ableton (the DAW I use) is really good with creating generative patches with MIDI control, and I combined some sample instrument performances with generative, self-playing patches I made to create the acoustic parts. I used various drum machines and synths (including my favorite feedback patch on my eurorack modular synth) to create the electronic elements, then processed those with my favorite distortion unit, the Plasma Rack by Gamechanger Audio (it takes audio, converts it to a high voltage plasma beam and converts it back to audio with all sorts of beautiful, scratchy imperfections). The final hurdle was in recording the 1/2 tempo break down that glides back into full tempo which required a lot of trial and error to make everything sync at the right moments, but it’s probably my favorite sequence of the whole score.” – Tommy Simpson
“Run For Your Lives” delivers an intense sense of urgency, with a heavy beat and even heavier synths that capture the escalating chaos. This track seems to mark a darker turn in the film, with its raw, intense soundscape. Midway, the song shifts to a more melodic synth line, softened by a cleaner tone, while the percussion joins with spot-on timing. Although busy and intricate, the track remains catchy and vibrant. Across its five minutes, it takes unexpected twists and turns, hinting at how quickly things can change on screen in an instant.
“You’ve Won the Game!” wraps up the soundtrack on an uplifting note and plays during the final credits. A danceable drum groove and bright synth carry a catchy melody, while eerie strings reappear, adding depth to the piece. Soon, a piano interlude introduces a calm, reflective moment, sounding almost like a tribute to the lives lost throughout the battles in the film. As the piano’s warm chords continue, the synths return, creating a beautiful blend of energy and introspection. This closing track showcases Tommy Simpson’s range, capturing his skill with diverse instruments and his ability to evoke layered emotions.
The expanded edition of the soundtrack includes a bonus track called “Psychopath” and lives under Tommy Simpson’s artist name Macro/micro. This song definitely fits in with the rest of the movie soundtrack, but also stands well on its own. It is another grand showcase of Tommy Simpson’s composing abilities. It’s a great close to the soundtrack and could perhaps find even greater use paired with a compilation of footage from the film.
Be sure to check out the movie for the film score, or listen to it here on Spotify:
Written by Ryan Cassata
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