Music isn't just background noise in a Kojima game. It’s the connective tissue. If you played the first game, you remember that specific, haunting chill when "Don't Be So Serious" by Low Roar kicked in as you crested the first hill toward Capital Knot City. It changed the mood instantly. Now, with Death Stranding 2: On The Beach looming on the horizon for 2025, everyone is obsessing over the Death Stranding 2 OST and whether it can possibly capture that same lonely, terrestrial magic.
Honestly, it's looking like things are going in a much louder, stranger direction this time around.
Hideo Kojima doesn't just hire a composer and call it a day. He curates. He obsessively listens to Spotify and indie radio, hunting for sounds that shouldn't work but somehow do. For the sequel, we already know Ludvig Forssell is back. That's the foundation. Forssell is the mastermind behind those industrial, grinding synths that make the BT encounters feel so oppressive. But the trailers have already shown us that the musical DNA of this sequel is evolving into something far more theatrical.
The Puppet, The Moon, and the Death Stranding 2 OST
The second trailer for DS2 was a fever dream. You’ve got a sentient, stop-motion-style puppet hanging from Sam Porter Bridges’ hip, and more importantly, you’ve got George Miller (yes, the Mad Max director) showing up. But the real star was the song. We saw a literal musical performance within the game world.
That flamboyant, electric guitar-wielding villain—who looks suspiciously like Higgs in Drawman makeup—isn't just a boss. He’s a performer. The Death Stranding 2 OST seems to be integrating diegetic music (music the characters can actually hear) in a way the first game didn't. In the original, the licensed tracks were internal moments of solitude for Sam. In the sequel, the music feels like it's being weaponized.
Who is Making the Music?
Ludvig Forssell is the anchor. He’s the guy who moved from Konami to Kojima Productions and defined the "Kojima Sound" post-Metal Gear. But the guest list for the Death Stranding 2 OST is where things get interesting.
Kojima has been publicly hanging out with Woodkid (Yoann Lemoine). If you know Woodkid’s work, you know it’s all about thundering taiko drums, massive brass sections, and a cinematic scale that feels almost religious. It's a huge departure from the muted, melancholy folk of Low Roar. Losing Ryan Karazija, the lead singer of Low Roar who passed away in 2022, left a massive hole in the soul of the franchise. It’s clear Kojima isn't trying to replace that sound. He’s pivoting.
💡 You might also like: Why the Disney Infinity Star Wars Starter Pack Still Matters for Collectors in 2026
Moving Away from the "Low Roar" Era
We have to talk about the shift in tone. The first game was about isolation. It was a "walking sim" in the best way possible, and the music reflected that. It was damp, cold, and lonely.
The Death Stranding 2 OST is shaping up to be more operatic. Look at the trailer music: "Horizon" by Da Vinci. It’s got this soaring, almost classic rock ballad energy that feels vastly different from the indie-electronica of the first game. It’s bigger. It’s more "Hollywood."
Some fans are worried. They loved the quiet. They loved the way the music felt like a secret shared between Sam and the player. But if the sequel is about leaving the UCA and traveling across the sea to new continents, the scale has to increase. You can’t use the same intimate acoustic guitar when you're fighting a giant mechanical cat-creature or dealing with a flamboyant cult leader.
The Synthesis of Analog and Digital
One thing Forssell does better than almost anyone is mixing found sounds with traditional orchestra. In the first game, he used the sound of heavy machinery and distorted cellos. For the Death Stranding 2 OST, expect more vocal experimentation.
The trailers have featured weird, rhythmic breathing and choral chants that feel ancient. It’s "Prehistoric Futurism." That’s a term Kojima fans love to throw around, and it fits perfectly here. You have high-tech "Drawman" robots and floating ships, but the music sounds like it's coming from a campfire ten thousand years ago.
Why the Soundtrack Matters for the Gameplay
In the first game, music was a reward. You struggled through a mountain pass, nearly died to a lack of stamina, and then—smoothly—the camera pulled back, the UI disappeared, and a licensed track started playing. It was a dopamine hit.
📖 Related: Grand Theft Auto Games Timeline: Why the Chronology is a Beautiful Mess
The Death Stranding 2 OST will likely function the same way, but with more variety. We’re seeing different biomes now—deserts, flood zones, and rocky tundras. Each of these needs a distinct sonic identity.
- The Desert: Expect dry, twangy, slide-guitar motifs.
- The Ship (DHV Magellan): Likely more industrial, humming drones.
- Combat: Heavier, percussion-focused tracks that reflect the increased action.
It’s not just about the licensed songs. It’s about the procedural music system. Kojima Productions uses a system that layers music based on your actions. If you’re running, the beat picks up. If you crouch in the tall grass to hide from a GG (the new enemy types), the high frequencies cut out, leaving only a low-end throb. It’s immersive as hell.
What We Know About the Collaborators
Kojima’s Twitter (or X, whatever) is basically a roadmap for the Death Stranding 2 OST. He’s been seen with:
- Chvrches: They did the ending theme for the first game. It would be a shock if they weren't involved in some capacity again.
- Woodkid: As mentioned, his "Land of All" style fits the epic scope of the sequel.
- Harkin: She contributed vocals to the "Horizon" track in the TGA trailer.
- SSQ: The synth-pop vibes from the puppet dance scene.
This isn't just a collection of songs. It’s a curated vibe. It’s basically Kojima’s personal "Year in Music" turned into a Triple-A video game.
The Sound of Death and Rebirth
The theme of DS2 is "Should we have connected?" It’s a cynical look at the first game’s optimism. The music has to reflect that doubt. While the first game’s soundtrack felt like a warm hug in a cold world, the Death Stranding 2 OST feels a bit more jagged. It’s questioning.
There’s a specific sound in the trailers—a sort of digital "glitch" that interrupts the melody. It’s jarring. It suggests that the chiral network isn't as stable as we thought. Or maybe, that the connections we made are actually hurting us.
👉 See also: Among Us Spider-Man: Why Everyone Is Still Obsessed With These Mods
Technical Specs and Audio Design
If you’re playing on PS5, the 3D audio is going to be the way to experience this. The Death Stranding 2 OST is being mixed with spatial awareness in mind. You won't just hear the music; you'll hear where it’s coming from in the environment.
Imagine the puppet singing. As you move the camera, the sound of his voice will shift from the left ear to the right. It’s small details like this that make the soundtrack more than just a playlist. It’s an architectural component of the game.
The Verdict on the Hype
Is it going to be as good as the first one? Honestly, it’s going to be different. You can’t catch lightning in a bottle twice, especially after losing Low Roar’s primary influence. But Kojima is a master of reinvention.
The Death Stranding 2 OST is going to be weirder, more aggressive, and likely more divisive. Some people will miss the quiet folk songs. Others will love the new, flamboyant, theatrical rock-and-roll approach.
The one thing you can count on? It won't be boring. It won't be generic "epic trailer music" that you hear in every other game. It will be weird. It will be distinct. It will be Kojima.
How to Prepare for the Launch
If you want to get your ears ready for what’s coming, start by diversifying your listening. Don't just stick to gaming soundtracks.
- Listen to the "Horizon" single: It's already out there on YouTube and streaming services. It’s the best indicator of the game’s "new" heroic yet tragic tone.
- Revisit Woodkid’s "S16" album: It captures that industrial, high-stakes feeling that seems to permeate the new trailers.
- Follow Ludvig Forssell on social media: He often posts snippets of the weird instruments he’s using, like distorted violins or custom-built synths.
The best way to experience the Death Stranding 2 OST is to go in with no expectations. The first game taught us that music can happen at any time. It's a reward for the journey. In 2025, when we finally step back into Sam’s boots, the first time a new track kicks in while we're overlooking a brand-new landscape, all the wait will feel worth it. Keep an eye on official PlayStation State of Play events for more track reveals, as Kojima loves dropping music titles months before the actual game hits shelves.