Music isn't just background noise in Naughty Dog games. It’s the connective tissue. When you first hear that hollow, rhythmic thrum of the charango in The Last of Us Part II album, you aren’t just listening to a soundtrack; you’re being pulled back into a muddy, overgrown version of Seattle. It’s visceral. It’s uncomfortable. Honestly, it’s probably one of the most depressing things you’ll ever put in your ears, but you can't stop listening.
Gustavo Santaolalla is a genius. There, I said it. The two-time Oscar winner didn’t just recycle the acoustic guitar themes from the first game and call it a day. Instead, he and co-composer Mac Quayle (of Mr. Robot fame) built a sonic landscape that feels as fractured as Ellie’s psyche. It’s a double-disc experience that balances organic folk with terrifying, industrial synth.
The music tells the story of the game better than most of the dialogue does. Think about it.
The Gritty Evolution of The Last of Us Part II Album
The first game’s score was about hope. Minimal hope, sure, but it was there. Fast forward to 2020, and the sequel’s music shifts toward something much darker. The The Last of Us Part II album reflects a world that has stopped grieving and started rotting. Santaolalla used a lot of detuned instruments. If a string sounds like it’s about to snap, that’s intentional. It’s a metaphor for the characters’ mental states.
Mac Quayle’s contribution shouldn't be overlooked either. While Gustavo handles the "heartbreak" tracks, Quayle handles the "heart-racing" tracks. The tension in the combat music is claustrophobic. He uses these low-frequency pulses that make your chest tighten. It’s the sound of being hunted by the Seraphites in the woods.
You’ve got tracks like "The Last of Us Part II" (the main theme) which feels familiar but "off." It’s played on a ronroco, a small Andean stringed instrument. It’s delicate. But then you hit a track like "The WLF" and suddenly you’re surrounded by heavy percussion and aggressive electronic distortions. The contrast is jarring. It’s supposed to be.
Why the Ronroco Matters
The ronroco is Santaolalla's signature. It has a shimmering, haunting quality. In this album, he uses it to ground the player. No matter how violent the game gets, that specific sound reminds you of the characters' humanity. Or what's left of it. It's the sound of Jackson. It's the sound of a porch at sunset. It’s the sound of a life Ellie can’t quite hold onto anymore.
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Beyond the Score: Those Licensed Covers
We have to talk about the covers. The The Last of Us Part II album—specifically the digital and vinyl releases—often gets conflated in fans' minds with the actual songs played in-game. Who can forget Ashley Johnson’s rendition of "Take On Me"?
A-ha’s original version is a synth-pop banger. Ellie’s version is a funeral dirge. It’s beautiful. It’s intimate. It was actually a late addition to the game, inspired by a performance Ashley Johnson did. It changed the vibe of that Seattle Day 1 exploration completely. Then there’s "Future Days" by Pearl Jam. That song is the emotional anchor of the entire narrative. It’s the "look for the light" of the sequel.
But there's a weird bit of trivia here. "Future Days" wasn't actually released until late 2013 in our world. Since the cordyceps outbreak in the game happened in September 2013, Joel technically heard the song performed live or on a pre-release recording. It’s a tiny detail, but it shows how much thought went into the soundtrack’s integration.
- "Wayfaring Stranger" - The credits song. It’s a traditional folk tune, but Troy Baker and Ashley Johnson turn it into a haunting duet that feels like a conversation between two people who can no longer speak to each other.
- "Through the Valley" - Shawn James’ original track. This was the song from the very first reveal trailer. It set the tone for the "hate" theme of the game.
- "Ecstasy" by Crooked Still - You hear this during the dance at the beginning. It’s upbeat, which feels so out of place in this universe that it actually makes you anxious.
The Technical Mastery of Mac Quayle
If Santaolalla is the soul, Quayle is the adrenaline. The The Last of Us Part II album wouldn't work without his atmospheric horror. He didn’t use standard orchestras. He used found sounds and heavily processed synthesizers.
The track "The Island" is a standout. It’s used during the infiltration of the Seraphite home base. It’s rhythmic but unpredictable. It mimics the sound of heavy rain and snapping branches. It’s masterclass level sound design. Most people don’t realize how much of the "fear" in the game is purely auditory. When you remove the music, the Clickers are scary. With the music, they’re paralyzing.
Quayle’s work also differentiates the two main perspectives. Ellie’s music is often more frantic and high-pitched. Abby’s music feels heavier, more grounded in military-style percussion and deep drones. It’s subtle, but your brain picks up on the shift in "weight" between the two protagonists.
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The Vinyl Release and the "Oversized" Experience
Collectors went wild for the vinyl release. Mondo put out a gorgeous 2xLP set with art by Tula Lotay. It’s a tactile way to experience the score. There’s something about the warmth of vinyl that suits Santaolalla’s analog recording style. He doesn't like digital perfection. He likes the sound of fingers sliding on strings. He likes the "mistakes."
On the vinyl, you can really hear the resonance of the wooden instruments. It’s a much wider soundstage than what you get through compressed game audio or a standard Spotify stream. If you’re a hifi nerd, this is the definitive way to listen.
What Most People Miss About the "Unbroken" Track
One of the most important tracks on the The Last of Us Part II album is "Unbroken." It’s a motif that repeats throughout the game. It’s essentially Joel’s theme for the sequel.
It’s mournful. It’s tired.
The melody follows a descending pattern. In music theory, descending lines often represent a loss of energy or a "falling" from grace. Given Joel’s arc in the second game, it’s a perfect, tragic fit. When that theme kicks in during the museum flashback, it hits like a freight train because we know what happens later. The music is foreshadowing the grief before the characters even feel it.
Santaolalla’s ability to use silence is also key. He isn't afraid to let a note hang in the air for five seconds. In an industry where most game music is "wall-to-wall" action, this minimalism is brave. It gives the player room to breathe. Or, more accurately, room to feel terrible about what they just did.
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The Impact of the Soundtrack on Modern Gaming
The The Last of Us Part II album set a new bar. It moved away from the "epic" Hollywood style of God of War or Uncharted and embraced something more intimate and "indie." Since 2020, we’ve seen more AAA games experimenting with niche instruments and atmospheric drones rather than just 100-piece orchestras.
It’s about textures. The scratchiness of a bow. The thud of a palm on a guitar body. These sounds make the world feel "physical." When you hear a distorted guitar swell in the middle of a rainy street in Seattle, you feel the cold.
Key Lessons for Listeners
If you’re going back to listen to the album today, don't just put it on as background music for work. It’s too distracting for that. It’s "active listening" music.
- Focus on the layers. Try to isolate the synth from the strings.
- Listen for the character motifs. Notice how Ellie’s theme evolves from the first game to the second. It’s the same melody, but the "color" of the sound has changed.
- Pay attention to the ending. The final tracks are almost entirely devoid of percussion. It’s just raw, bleeding strings. It leaves you feeling empty, which is exactly how the game ends.
Final Thoughts for Your Playlist
So, how do you actually digest this massive work? If you’re looking for the "essential" experience of the The Last of Us Part II album, start with the "Special Edition" soundtrack which includes the covers.
While the score is available on all major streaming platforms like Spotify, Apple Music, and Tidal, the real magic is in the high-res versions. Look for the 24-bit FLAC files if you can find them. The dynamic range—the difference between the quietest whisper and the loudest explosion—is massive.
Next Steps for Fans:
- Check out Gustavo Santaolalla’s "Caminos" album. It’s not gaming-related, but it gives you a deeper look into the ronroco style he used for The Last of Us.
- Watch the "Making of" documentaries. There are some great clips of Gustavo in his studio surrounded by weird instruments you’ve probably never heard of.
- Listen to Mac Quayle’s work on Mr. Robot. If you liked the "stress" music in the game, you’ll love his TV work. It’s the same DNA of anxiety and technological dread.
- Learn the tabs. If you play guitar, learning "Future Days" or "Main Theme" is a rite of passage. Just be prepared to tune your strings down—Gustavo loves those low, growling notes.
The music of The Last of Us Part II isn't just a collection of songs. It's a psychological profile of a world in collapse. It's uncomfortable, it's beautiful, and it's absolutely essential for anyone who cares about the intersection of sound and storytelling.