Ten levels.
Ten musical worlds.

Behind the music

C Mixolydian keeps a major tonic but lowers the seventh to B♭. That makes the final G chord minor, softening the pull back to C. The opening root–fifth–seventh–octave gesture becomes the soundtrack’s recurring signal. A steady backbeat and short answering phrases give it a buoyant synth-pop feel.

Harmony: C–Am–F–Gm / C–B♭–F–Gm

Behind the music

E natural minor supplies a dark rock palette without the raised leading tone of harmonic minor. The 7/8 meter divides into 2+2+3 eighth notes: two short groups and one longer group. Riff and kick accents mark that uneven cycle, creating a forward stumble while the tempo stays constant. B minor gives the loop a gentler return than a major dominant would.

Harmony: Em–Em–C–D / Am–C–D–Bm

Behind the music

D Phrygian places E♭ only a semitone above the tonic. Alternating D minor and E♭ major keeps that tight, unsettled relationship in the foreground. Clipped melody fragments, repeated low bass figures, and kicks on all four beats build the industrial march. Its tension comes from repetition and the lowered second rather than rapid chord changes.

Harmony: Dm–E♭–Dm–E♭ / Dm–Gm–E♭–Dm

Behind the music

A Dorian combines a minor third with a natural sixth, F♯. That F♯ gives D7 its major third and lets the harmony move between minor warmth and brighter color. Seventh-chord arpeggios add a jazz tint. Slightly delayed alternate sixteenths create light swing; rests and displaced bass attacks supply the separate effect of syncopation.

Harmony: Am7–D7–Am7–Bm7 / Am7–D7–Bm7–Em7

Behind the music

E harmonic minor raises D to D♯, creating a major B dominant that pulls strongly toward E minor at the loop. The scale’s augmented second between C and D♯ adds a distinctive melodic edge. Rapid repeated pulse notes suggest surf-guitar tremolo picking, while the fast 4/4 backbeat turns the coastal theme into a chase.

Harmony: Em–Em–Am–Am / B–Am–Em–B

Behind the music

F natural minor sits over a repeating eight-bar progression, with repeated roots slowing the harmonic motion. Four-on-the-floor kicks and offbeat hats establish a techno grid; syncopated bass notes and octave shifts interrupt it. Sequenced pulse-width changes alter the lead’s tone from note to note, creating acid-inspired movement without changing the scale.

Harmony: Fm–Fm–D♭–D♭ / B♭m–B♭m–E♭–Cm

Behind the music

D Lydian raises the fourth scale degree to G♯. That note brings floating brightness and produces the unusual G♯ diminished chord; the arpeggios add seventh-chord colors above these roots. A slow 3/4 pulse, longer melody notes, high chip arpeggios, and sparse percussion give the music-box waltz space to hover.

Harmony: D–Em–D–A / Bm–Em–G♯dim–A (with seventh-chord arpeggios)

Behind the music

G natural minor anchors a fast 172 BPM drum-and-bass groove. Broken kick placements and sixteenth-note hats create surface speed, while snares keep a recognizable backbeat. The melody mixes sustained notes with short fragments over one chord root per bar, so harmony moves more slowly than the percussion. A diminished chord adds tension before the minor dominant returns to G.

Harmony: Gm–E♭–Cm–F / Gm–E♭–Adim–Dm

Behind the music

C harmonic minor supplies B natural, a leading tone that points back to C. The eight-bar bass-root cycle C–B–A♭–G–F–E♭–D–G acts as a passacaglia-like ground. A running melody and descending second pulse line create independent motion above it. The scale also produces an E♭ augmented triad, adding instability. This is free, baroque-inspired chip counterpoint rather than a strict historical exercise.

Harmony: Cm–Bdim–A♭–G / Fm–E♭aug–Ddim–G

Behind the music

D harmonic minor raises C to C♯, making A major a forceful dominant and C♯ diminished a tense leading-tone chord. The opening root–fifth–seventh–octave gesture returns with a raised seventh, changing its original relaxed character into urgency. Dense kick figures, quick arpeggios, and a higher answering melody give the finale its chip-metal intensity.

Harmony: Dm–B♭–Gm–A / Dm–C♯dim–B♭–A

Behind the music

C major turns the invasion’s recurring root–fifth–seventh–octave gesture into a bright homecoming. A raised, natural seventh replaces the opening level’s flattened seventh. The progression moves through relative minor and warm subdominant chords before G resolves to C at the loop. An ascending opening phrase, higher answering melody, lighter middle section, and full reprise give the victory parade a complete musical arc.

Harmony: C–G–Am–F / C–Dm–F–G

After the final collapse, the fleet’s homecoming gets a full melody and a gentle, continuous loop through the victory screen.