Here’s a fun thought experiment for you: would you rather lose an eye or hearing in one ear? Forget the morbidness of said situation for a moment and work with me here—you can live without one or the other, yes, and you’d likely fall into a deep depression if such misfortune were to fall upon you. But only one of those would be harder to live without: and that’s your hearing. Hearing lets you feel what lies before your vision, never mind the conceptual languages we speak. It’s irreplaceable!
For a species of complex organisms, it doesn’t take much for us to fall to our very basics. Namely, a good bop will do that, something that stays in your mind. Something you’ll pull up and place on repeat despite the massive discography sitting in your library. Something that compliments that touching scene from a film or video game and you just can’t help but recall it, over and over again. But that compliment levies a criticism: that the song you’ve just heard simply cannot stand on its own legs without the experience it’s attached to. And it’s not a remark I necessarily disagree with, either, but that doesn’t make the beat you’ve left on repeat worthless—it makes for good reflection: if I heard this song separate from the memory I have of it, would I like it as much as I do now? I could certainly let my body rock and move to the killer groove, but the last time I had shown any emotion to a musical journey (besides intense glute workouts) was Christopher Tin’s “The Lost Birds“.
Beauty is in the eye of the beholder. Or the beholden. Really, it’s up to you to decide what’s worth your time. Such thinking certainly hasn’t impact my music library, with a several thousand albums—the vast majority video game music or adjacent—taking up space on my tiny little Plex server. Despite all this music, my recent plays tend to be the same few albums occupying headspace for the time being. All except for a handful of albums, that is, and to you it might be coming from the unlikeliest of places: HoYoverse’s ‘Zenless Zone Zero’, a free-to-play urban action role-playing game where players take on the role of a brother and sister who partake in dangerous “Proxy” work as they run a video store in some corner of a colourful neighbourhood in New Eridu.
I had played the beta on my phone some years back and, though I wouldn’t end up playing the full release until a year after its initial launch, I had trouble keeping the tunes I had heard off my mind. High-octane one moment and down-trodden the next. Reflective one moment and heart pounding afterwards. Sān-Z STUDIO, the music group behind Zenless Zone Zero, had struck gold in my eyes—through strange sounds, unexpected turns, strong bass, and just the right amount of repetition, these musicians became part of my go-to artists and they’ve been dominating the recently played section for a little over a year now with no signs of that changing for the foreseeable future. It’s modern, it’s classic, atmospheric, it’s bloody varied. And the game is a little bow on top of these phenomenally vibrant tracks, bringing to life the little details across New Eridu’s metropolis.
Sometimes, I think back on that criticism. That music that’s part of a production has little value on its own. That can be true, yes, but the opposing examples show that such thinking couldn’t be more wrong. The right approach certainly helps. But I’ll leave that to the experts at Sān-Z to explain their magic. Because I think their work in the gaming industry is nothing short of incredible. Below, you’ll find my interview with the music group and I hope you’ll walk away feeling the same way I do when I play Zenless Zone Zero and the times I listen to its sounds when I’m not keeping the video store barely above water. You can also learn more about the music group from their official “ZTALK” HoYoLab ViDocs.
Heads up! The following interview below has been formatted to best serve your web browser. A Bangboo might have run out of battery during its making, but sans a change to our name in the beginning paragraph (we shortened our new name from “PlayDayOne” to “DayOne”), no answers nor questions were otherwise modified.
Hello, hello! My name is Genghis and I’m part of the writing team over here at DayOne. Thank you so much for taking the time to answer questions on yourselves and the music production behind HoYoverse’s action role-playing slash social game ‘Zenless Zone Zero’.
Let’s start from scratch: Who is behind Sān-Z STUDIO, Zenless Zone Zero’s primary music artist, and what sets them apart from HOYO-MIX as a whole?
Yang Wutao: Sān-Z STUDIO is a music production team currently focused on the Zenless Zone Zero project. You may have gotten to know me (Yang Wutao), Lei Sheng, Zhou Bin, and Song Peiyan through the behind-the-scenes documentary on Zenless Zone Zero’s music. The team has since welcomed music producer Yu Zongru, coordinator Lu Wenbo, and three interns — Chen Jiahao, Zhang Yichi, and Wang Mingji. We came together because of Zenless Zone Zero’s music. More specifically, game music that uses electronic music as its special medium brought us together.
So even though we come from different age groups and have different personalities and musical backgrounds, we click really well. Our day-to-day work and interactions feel more like a mutual sharing, and this sharing goes beyond just music — from work and life experiences to the games, shows, and food we each love. Everyone on the team sees music as the most authentic expression of our personality, hoping to convey our unique, authentically deep, and emotionally resonant expressions through musical creation. And Zenless Zone Zero itself is a game that can accommodate diverse musical styles, so we’re willing to challenge ourselves in innovative ways, combining our strengths to create music across different styles, and music that is cooler, more interesting, and more fun.
Lu Wenbo: The Sān-Z STUDIO music production team aims to craft a rich and diverse musical style for Zenless Zone Zero, and we’ve been constantly experimenting with different genres. Because different players and listeners have varying tastes and preferences, we hope to maintain our core identity and uniqueness in Zenless Zone Zero’s music creation while trying out as many musical styles as possible. If players can find even one track they love in our creations, that’ll makes us really happy.
What does music mean to the world of Zenless Zone Zero? How does it define the way of life in New Eridu? Has Sān-Z taken inspiration from pop culture in the same way the developers of the game have when composing music and sound effects? Does Sān-Z attempt to incorporate any central motif to make these tracks identifiable as “Zenless Zone Zero” songs?
Yang Wutao: Zenless Zone Zero is a work with its own unique aesthetic style, and we want the music to be part of how the world of Zenless Zone Zero expresses itself. Our goal is for players to feel that the music complements every scene, every combat encounter, and every character fighting side-by-side with them. That’s why our musical approach isn’t tied to a single consistent theme or signature sound — it’s relatively freeform. As long as the music fits a specific vibe or characteristic of Zenless Zone Zero, we’re willing to give it a shot. Moving forward, we’ll keep reviewing player feedback on the music, taking stock of what we’ve put out there, and giving players even more musical variety to enjoy.
Can you give us an idea of how music makes its way from concept all the way to the final build? How does Sān-Z work with the development team to create memorable and fitting music for a given area, character, or sequence?
Yang Wutao: Game music first and foremost has to serve the game’s own scenes and characters, so our musical compositions need to sync up with Zenless Zone Zero’s content creation and promotional rhythm. Under such high-frequency creative and release demands, the team’s professionalism becomes absolutely crucial.
On one hand, the team has experienced musicians with a deep understanding of Zenless Zone Zero’s musical tone, and are familiar with every stage of music production including recording, mixing, and directing. So right from the initial creative stage, they can quickly, accurately, and decisively lock in the production direction and execute each task rapidly. On the other hand, during the production of each piece, the music team communicates with different teams on various matters, such as MV production and so on. Through repeated cross-departmental collaborations since the game’s launch, communication efficiency has been continuously improving. Additionally, with new members joining, we hope to spotlight their individual strengths, allowing everyone to shine within the framework of the game’s overall needs and style while exploring more diverse musical expressions.
Looking at Zenless Zone Zero’s own music, many tracks are perfectly suited for live performances. When creating a lot of these pieces, we already had visions of “”this piece being performed live”” in our heads. We’ve always believed in the human connections and impact that live performances bring. From the Creamfields electronic music festival during the game’s launch to the ZZZ FES at the end of last year, we’ve felt the players’ passion and support in person, and we’re thrilled that Zenless Zone Zero’s music has become cherished memories for everyone in those specific times and spaces. Recently, we’ve been preparing for the Zenless Live Signal Lost performance, and we hope to have more opportunities to perform Zenless Zone Zero’s unique music live for everyone, bringing the offline musical experience to more players.
Zhou Bin: Using music to adapt to players’ performance in the game is something we tried in the Simulated Battle Trial game mode, and we have received support and positive reactions from players. As a combat gameplay mode, the Simulated Battle Trial embodies Zenless Zone Zero’s exhilarating combat style, so when creating the music, we wanted to use blood-pumping music to build up the atmosphere. Building on that foundation, I designed some melodies, and when players achieve an S-Rank rating, vocals will kick in to push the player’s emotions and the victorious combat atmosphere to their peak.
During play, this song will have the vocals kick in when players are at the highest scoring threshold.
With the 2.0 release of the game, Proxies have made their way to Waifei Peninsula to train in the backdrop of a high mountains-inspired dojo setting. Along with this shift in tone, players have also been introduced to slower tempo beats infused with traditional Chinese instruments for the first time. What’s it been like, adapting the modern urban style of disc scratches and techno/house/hip hop beats with the stark contrast that is the calming nature of the old world’s flutes, lutes, and percussion?
Is this a kind of mix of old and new that Sān-Z would be looking forward to doing again in the future?
Song Peiyan: In crafting the music for Zenless Zone Zero Season 2, we experimented with blending the game’s signature lo-fi sound with the unique rhythms of traditional Chinese instruments. Take Failume Heights, for example: as the main hub for Proxies in Season 2, I wanted to layer in some trendy, modern vibes on top of the area’s core aesthetic. The creative process wasn’t quite as chill and relaxing as the music itself sounds. Early on, I tried tons of different approaches to weave in those contemporary elements. For the daytime track, I mixed in some funk elements to give it that lively, groovy feel. I also brought in traditional Chinese instruments like the xiao flute, plus sounds like wood knocking — stuff you’d actually hear at a street market or walking through a bustling neighborhood. The goal was to capture that everyday, lived-in atmosphere through the music. The nighttime track, on the other hand, is way more mellow and laid-back. Unlike the busy daytime scenes with people grocery shopping and strolling around, Failume Heights winds down at night and settles into a quieter, more peaceful vibe.
Yu Zongru: For the music at Suibian Temple, I also used electronic drum samples. As part of Season 2’s management gameplay, the music also gradually evolves as players level up the temple. When players first step into Suibian Temple, the music features more sparse, dotted tones and a gentler dynamic range, matching that feeling of entering a new space. Later on, longer melodic lines come in, creating a richer, more layered listening experience. Overall, while the music across Waifei Peninsula definitely showcases a distinct regional cultural flavor, it still carries that unmistakable Zenless Zone Zero identity.”
There are quite a few vocal tracks featuring some incredible talent, like those with Mr.mo, Lei Sheng, YMIR, and Philip Strand. What are the brainstorming sessions like and how does the team know when it’s time for a track to incorporate lyrics?
Yang Wutao: In-game music primarily serves to enhance the atmosphere and overall vibe of each scene, but the right vocals can also make a melody more memorable. For example, the music I created for the construction site scene in the daytime is actually a looping arrangement. Since purely looping background music can feel repetitive to the players, I chose to add a small rap section. It turned out that track left a really strong impression on everyone, and I’m thrilled people loved it so much.
As for the vocal tracks on the EP, the team’s goal is to “present diverse musical styles and experiences, both inside and outside the game.” We’re actively collaborating with tons of talented external musicians, including working with singers from around the world to create character songs and more. Moving forward, we’ll continue expanding our partnerships with external musicians to keep bringing vibrant musical works to New Eridu.
While I have you on this, I’d like to ask: why does the track “Golden Sign” have two variations of vocalists? Is there any reason one track would be played over the other?
Yang Wutao: I mentioned the story behind the track “Golden Sign” in the documentary before. Initially, the developers wanted us to create a custom track for every character’s Signal Search, but the producer felt that Signal Search music needed to be iconic and shouldn’t be too numerous. Based on that, I came up with a new approach: if you didn’t get an S-Rank signal, the game will play a certain beat. But if a player gets an S-Rank signal, a rap section gets added to the music. The rap vocals have two different versions that could play, and they are completely random — there’s no specific trigger mechanism. This way, we get some irregularity while keeping it highly recognizable.
Speaking of which, nearly every patch since the game’s launch, an agent from the game has gotten their own single! Is the process of producing a character song different from that of an in-game track? How does Sān-Z incorporate an agent’s identity—who they are—into their songs?
Song Peiyan: When creating character songs, we start from the character’s background itself. We hope to use music to outline and express the charisma or qualities within each character that can resonate with the audience. Let’s take Banyue’s character song as an example: as a robot created in an old era, he can’t really understand modern language. So in the first half of the song, I came up with a way to make the lyrics sound like some kind of new artificial language pronunciation, reflecting Banyue’s character traits. The specific method was to record each word in every line of the lyrics, reverse the audio, then perform the vocals based on that reversed pronunciation. The second half of the lyrics then returns to normal pronunciation, representing Banyue’s self-awakening.
Yang Wutao: Another example is when we created Tsukishiro Yanagi’s song “Rest Awhile.” We incorporated more of the working people’s reflections on work and life. One of the inspirations behind Section 6’s design was actually “office workers,” and Yanagi is someone who’s super passionate about her work. In this song, she’s like a project manager clocking out for the day. By the way, Lu Wenbo is like the Tsukishiro Yanagi of our music team *laughs*.
From my personal experience, during crunch periods where work’s moving at a fast pace, that commute home after work is the best time for thinking. So with this song, we wanted to express the meaning of life beyond the hustle of work, and hopefully evoke everyone’s empathy about work and life, reminding them of their own stories. Music is an audible art form filled with human sentiments and culture. When creating, we inevitably draw from different life experiences, hoping to let people feel rich emotions. So we hope that when everyone hears these songs, they’ll gain some insight into their current lives with a knowing smile.
How does Sān-Z come up with the television jingles? Heck, let’s talk about the arcade games, as well. Some of the tracks are very catchy!
Lei Sheng: Snake Duel in the arcade was a game many people encountered as kids, which got me thinking back to what music sounded like in my childhood memories. Childhood memories always have this hazy quality to them, and I wanted to recreate, to some extent, my recollection of music from that era. In the end, I used children’s toys from the supermarkets of my childhood to complete this track, because the sound frequencies of many children’s toys are actually discordant, and they don’t require much technique to play. This not only captures the simple, straightforward gameplay of Snake and its somewhat clumsy, unpolished style, but also matches certain memories I have of that era.
Song Peiyan: There’s a huge variety of TV commercials in Zenless Zone Zero, and when I got the music request for the “This Is How I Am” ad, it immediately reminded me of that midwest emo vibe I loved back in college, so I started experimenting in that direction. The music, combined with the ad’s live-action footage and text, left a lasting impression on many players.”
For all the love Zenless Zone Zero shows vinyls, there has yet to be a physical release for any of the game’s music. Can players look forward to picking up a physical CD or vinyl of the game’s music someday?
We’ve seen the eager calls for Zenless Zone Zero vinyl records coming through all sorts of channels, and we’re considering making it happen, so stay tuned!
Would Sān-Z be willing to share their favourite instruments? Any music from within or outside the studio that have been played on loop recently? What about any games the team has been playing?
Yang Wutao: When it comes to work, we treat all instruments equally. As long as it fits the music we’re creating, we’re down to experiment with different arrangements. Outside of work though, I hope we can put down the instruments and actually enjoy life a little more.
Song Peiyan: I’m a big fan of Eason Chan’s music, and have been playing them on loop lately.
Chen Jiahao: I’m currently listening to IMANU. As for games, Hollow Knight: Silksong has me in pain and enjoyment right now.
Yu Zongru: I’ve been listening to a lot of ISOxo lately.
Are there any final thoughts Sān-Z would like to share to Zenless fans and our readers? Anything you’d like us to know about the music in Zenless Zone Zero, the game itself, and beyond? The floor is all yours!
Yang Wutao: Finally, I’d like to take this opportunity to sincerely thank everyone who loves our music — you all really get electronic music! The relationship between music and games is synergistic, a “1+1 resulting in something greater than 2” kind of thing. Our music tells the story of New Eridu alongside Zenless Zone Zero’s scenes, characters, and combat. We’ll keep exploring new musical possibilities in the future, and we hope that when you’re playing Zenless Zone Zero — whether you’re running around the map, playing through the story, or simply jamming to the music — you can find your own joy in it. Let’s keep writing the story of New Eridu together!
Thank you for your time! ∎
Zenless Zone Zero is a free-to-play urban action role-playing game, available on PC via HoYoPlay, iOS, Android via Google Play, Xbox Series, and PlayStation 5 consoles.
All artwork featured on this page is official Zenless Zone Zero artwork, owned by miHoYo/HoYoverse.
*Track 34 “Peak” of album “Zenless Zone Zero – Hyper Commission 2.0”
Composed by Zhou Bin
Lyrics and vocals by YMIR
Phonographic copyright held by miHoYo/HoYoverse
All of the game’s music can be listened to through major streaming services or purchased through marketplaces like Tidal and Qobuz.
