The Depths Call Back (Siren Fleet vs Abyssal Fleet) [Azur Lane vs Kantai Collection]

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And here it finally is, the first “God Mode” commission. I hope this helps prove that concept a bit, I think this came out really freaking cool.

Guest guitar solo by Anthony Kraft (a.k.a. @NahTony )
Mix/Master by Anthony DiGiacomo
Track art by @AEthan48 on X!

Yes, I wrote it that way because I think it’s funny both people who helped me with the music are named Anthony.

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36 thoughts on “The Depths Call Back (Siren Fleet vs Abyssal Fleet) [Azur Lane vs Kantai Collection]”

  1. From the seas, to the skies, and the ocean depths. There’s nowhere to run when the wars all around you. Battle stations.
    Hiya everyone commissioner here little to say as you know my reason for doing a mu with these two series and I couldn’t be more pleased with the end result. Brandon, Tony, Anthony, and Ethan thank you 4 for bringing this to life. Enjoy everyone! Evil skk laughter

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  16. "From the depths they came, a divine sonata guiding their fleet into a battle for the seas where naught but one force shall remain over the tides, the debris of their fallen enemies sinking back to the abyss from which they crawled out of."

    Gotta say, I've been expecting this one for a while since I saw the track art in the Brandon Yates Discord and I was for sure expecting it to be good, it being a sort of "sequel" to Ghosts of Midway and all that. But I never expected it to be a God Mode track nor did I expect it to be the first one to release. Altho maybe I should have expected something to that extent given how absolutely amazing the track art was and how good the name to accompany it was.

    Really there's so much to go over in that track that it's hard to know what to cover and in what order. It's an absolutely wonderful song, to the point that no matter how much I cover it I wouldn't be doing justice to how good it is. So I'll do my best but if I miss something major, my apologies (especially since, y'know, I never actually played both games so my knowledge of both franchises stops at memes and a few anime episodes.)

    Right from the beginning the fact that we start with a very energetic yet low melody just works perfectly. It sets the tone perfectly as you can just imagine the two fleets lining up in front of one another as their guns take aim at their opponents, the tension rising with each second that passes before the first shot is fired at 0:25, causing all hell to break loose as the seas are split with high explosive ordinance and gunfire when both fleets engage truly for the first time.

    After that what follows is an understandably extremely high energy yet heavily melodic song to fit both franchises (speaking of which, I'm almost certain I can recognize those main synth motifs but I can't pinpoint what song they are from) with percussions taking a massive role into the melody to represent the sheer strength of both fleets' guns.

    On a more general note this is also backed by the fact that the main melodies have a slight reverb to them which I think are fitting on two levels, the first one is connected to what I said just before as a way to represent the overwhelming firepower of the two fleets, the reverb feeling like a muffled sound you'd hear after hearing a gunshot because your hears are ringing and the second level being of course the fact that the two fleets engaged are the Sirens and the Abyssals which makes a reverb effect fit absolutely perfectly because it makes the melodies feel like they're "echoing" a bit, a concept heavily connected to singing and by extension sirens along with vast open spaces and by extension the abyss.

    Going back to the chronological happenings, we then follow at 2:03 with the song shifting into a more organized and even more melodic segment which to me is a good way to represent how, after the initial chaos of the engagement, both fleets would start to reorganize. Something further supported by the fact that we get a full break at 2:28–2:53, noting a break in the fight. A break which I'll note I particularly like because it still keeps the momentum of the track but just lowers its intensity a lot with percussions being heard and a light melody. The former to me representing, now that both fleets stopped firing, the sound of machinery and weapons being reloaded as both fleets prepare to reengage. It really feels like the fight hasn't stopped at all, just that both sides are just readying themselves for the second round.

    And what a second round it is as the cracking of percussions/gunfire is heard at 2:53 as shells start flying once again but this time the song feels just a tiny bit softer than before, a way to get across how deadly the first engagement was and how both sides have suffered immense loses already.

    But there's little time to focus on this as the song shifts once again at 3:18 into an even higher intensity segment with a sharp recuring motif that to me would be akin to that of sirens (actual sirens, not the Sirens) blaring for a multitude of reasons, will it be torpedo warnings or general battle damage alarms. Another way to get across how devastating the battle happening is as both sides are getting torn apart.

    Following this segment we then get the first main highlight of the song starting at 3:44: the first solo. And damn it's good. It follows in the wake of the previous segment by adding this feeling of chaos to the track that goes very well with the "alarms" of the last part. It describes very well how, at this point in the battle, both fleets are just throwing whatever they have at one another to try and take down the opposing forces.

    Something seemingly somewhat successful as we get a slowdown in the song at 4:09 which would hint at two things to me. The first one being the loses of the two fleets starting to be felt truly as, even if all the ships still floating are still giving it their all, by now there's not much left on the sea to compensate for the loses. And the second one would be, due to how the percussions actually gain in intensity here and stand out even more, the entrée en scène of both fleets' heavy hitters with the Battlecruisers and Battleships approaching a close combat scenario due to how every Destroyer and Cruiser was either crippled or destroyed by now which allows the powerhouses to finally fully showcase their full power.

    This is further proven by the fact that we follow right away into another solo at 4:34 to showcase the brutality of the engagement at hand, even further proven by the shift at 5:00 into something that now showcases only brutality with much lower pitched guitars and even more brutal percussions that translate to a senseless rain of shells from one side to another as even mighty Battleships are sinking one by one below the hellfire.

    Only for the final solo to play at 5:23 which to me could represent a final push from both sides to try to take down the other, most of the last standing ships going down in a rush between one side to the other, leaving possibly only a duo of ships still floating at 5:48 where they have their final standoff in a forever increasing crescendo of intensity and energy that gets across how, no matter what, they'll fight down to their last bulkhead and last shell until either they or their enemy joins Davy Jones' Locker at the bottom of the sea. Something which eventually happens at 6:12 as the alarms turn silent and only the sheer devastation of the battle and one lone warship is left standing in an ocean of carnage, an ironic beauty being all that's visible as in the end whoever won that fight doesn't matter as both fleets, regardless of who won, are left in shambles. I do however appreciate the small detail of having a very subtle drumbeat being audible after every other instruments stops at 6:38 which could either represent the sounds of wreckages buckling and failing as they sink or a still beating heart of the surviving fleet (or what's left of it) ready to resurge from this battle despite the loses. It's just as much of a despair-filled drumbeat as it's an hopeful one (well, as hopeful as it can be given that the Sirens and the Abyssals are the antagonists of their games after all.)

    Overall this song is simply fantastic and I can't stretch enough how wonderful it is. It has so much depth to it (pun not intended) and just in general has a quality truly fitting of not only being God Mode but the first of those to come. Hell, I barely know anything of Kantai Collection or Azure Lane beyond the fact that it's "Warships but anime girls" (which is why some of what I wrote may seem a bit weird because, in all honesty, I've been imagining this fight with actual ships less so than anime girls so forgive me for that) and I liked the track this much so imagine people that actually are fans of both series. If this is the standard to expect of other God Mode tracks then I'll be damned because this is gonna make every other track feel almost underwhelming with how good those are gonna be. Regardless, absolutely fantastic work to both artists with this.

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  20. AMV Plan

    Aquaman & Sayaka Miki – The Depths Call Back (Brandon Yates, Nah Tony & Anthony DiGiacomo) (Full Version)

    Tagline: "Water Magical Girl Fight Against The King Of Atlantis For A Water-Themed Battle With Siren Fleet VS Abyssal Fleet's Commission Track."

    Aquaman VS Sayaka (DC VS Madoka Magica) | The Depths Call Back AMV

    Heroes Of The Sea (Aquaman VS Sayaka Miki) [DC Comics VS Puella Magi Madoka Magica]

    Warner Bros. Discovery VS Shaft

    Comic Book VS Anime

    Music Performed By Brandon Yates Feat. Nah Tony With Mixing & Mastering Done By Anthony DiGiacomo
    Aquaman & Justice League Was Owned By DC Comics
    Sayaka Miki & Puella Magi Madoka Magica Was Owned By Magica Quarlet

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  25. As one of the few people that enjoyed the first AL anime hearing part of it's battle motif in this made me absolutely overjoyed, this song is a banger awesome work from you and the team, seeing my favorite artist something inspired by my favorite game is always a treat

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  36. So this is the power of god mode and my ears have been blessed, this is a kickass track brandon 👏. As always I like to praise the others for their work Ethan, Anthony and Tony 🙏. Everyone did a phenomenal Job

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