History AwesomeMusic / EldenRing

''Elden Ring'' continues From Software's record of excellent soundtracks. In addition to the much-lauded works of Yuka Kitamura, it also brings in the talent of Shoi Miyazawa and Tsukasa Saitoh, as well as several other composers.

* Once you get to the FinalBoss, the title theme receives a triumphant BossRemix, [[https://www.youtube.com/watch?v=yDRIS8Jjt18 producing a theme]] befitting a climactic battle for the title of Elden Lord. Then, for phase 2, it changes to a reprise of the ''buildup'' of the main theme into a strikingly serene piece, using a OneWomanWail and chorus to demonstrate the size, majesty, and otherworldiness of your final challenge.

* [[https://www.youtube.com/watch?v=CCkjCjgkO5M Starscourge Radahn]] composed by Shoi Miyazawa; in what amounts to an ''army marching'' piece, Radahn's theme is filled with authoritarian chanting, war-drums, and assembly of music that just ''screams'' warrior-pride, fitting for such an apex FourStarBadass. After the abrupt crescendo and intensity of the transition to phase two, the theme mellows out into a mournful combination of choirs and drums, as if to hammer in how the fight serves as a send-off and MercyKill for one of the two candidates for the [[WorldsStrongestMan most celebrated warrior]] in the Lands Between.

* The theme for [[https://www.youtube.com/watch?v=mHZPYWW0KXU, the Omen King]] combines bells, rapid strings, punctuating brass and a vocal choir to emphasize just how agile and powerful Morgott is and cement him as leagues above what he was when [[RecurringBoss he had been fought earlier in the game.]] When he loses control and is forced to draw on his Omen curse to fight, the transition briefly takes on a sinister tone, underlying the darkness inherent in Morgott's being, before resuming its frenetic pace to solidify just how unwaveringly fixated Morgott is on stopping you, and interludes of strings and vocals bring the tragedy of Morgott's existence to mind before the crescendo. Fittingly, as Morgott is actually Margit, and is now facing the player at full power, his first phase is a higher-intensity version of the [[https://www.youtube.com/watch?v=UqIVy8SZ2ao already-excellent theme]] for that fight.

* The [[https://www.youtube.com/watch?v=YmqfwA7OXcc Ancestor Spirit]] often catches players off guard due to the complete difference to most themes so far. It starts off with rattling percussion and a single, wailing violin melody over slowly swelling strings as the Ancestor Spirit walks towards the player through the fog, something easily mistaken for a scene from ''Anime/PrincessMononoke'', and remains just as sorrowful and wistful throughout. This gets taken to the extreme in the second half of the piece during the [[UpgradedBoss Regal Ancestor Spirit]] fight later in the game, specifically in the [[TurnsRed second phase]], the choir, strings, flutes all swelling and picking up volume in order to match the title the boss carries. The choice for a more folk oriented tone compared to the usual bombastic nature of most boss themes is also reflective of the nature of the Ancestor Spirit, a creature who [[OlderThanDirt existed before even the Erdtree began to influence the Lands Between]].
* [[https://www.youtube.com/watch?v=qWl5wJuE-MU Rennala, Queen of the Full Moon]] combines the somber and regal tune with the choir of children. The result is a melancholic orchestral track which presents Rennala as the graceful sorceress and drives home [[TraumaCongaLine the tragic fate]] which turned her into a BrokenBird in her boss fight.
* [[https://www.youtube.com/watch?v=hpCgnNbFGKc Starscourge Radahn]] composed by Shoi Miyazawa; in what amounts to an ''army marching'' piece, Radahn's theme is filled with authoritarian chanting, war-drums, and assembly of music that just ''screams'' warrior-pride, fitting for such an apex FourStarBadass. After the abrupt crescendo and intensity of the transition to phase two, the theme mellows out into a mournful combination of choirs and drums, as if to hammer in how the fight serves as a send-off and MercyKill for one of the two candidates for the [[WorldsStrongestMan most celebrated warrior]] in the Lands Between.
* The [[https://www.youtube.com/watch?v=qpWgalUZsTM Godskin Apostles]] theme is an almost nonstop choir that accurately conveys the danger of [[HumanoidAbomination beings]] that once possessed the power to ''slay gods''. Its epic chorus possesses a sort of regality that doesn't detract from the Godskin Apostles' grotesque nature, but only makes it more disturbing. A fitting soundtrack for one of the most intense and skill-based recurring bosses in the game.
* [[https://www.youtube.com/watch?v=VbwlcahnQs8 God Devouring Serpent / Rykard, Lord of Blasphemy]], is, simply put, '''infernal.''' An eerie piece for its first half during the fight with the God Devouring Serpent, once Rykard comes into play it turns into a cornucopia of frenzied strings, oppressive brass and satanic chanting, befitting the imagery of the boss and arena.
* The theme for [[https://www.youtube.com/watch?v=OQKH912mnGc Morgott, the Omen King]] combines bells, rapid strings, punctuating brass and a vocal choir to emphasize just how agile and powerful Morgott is and cement him as leagues above what he was when [[RecurringBoss he had been fought earlier in the game.]] When he loses control and is forced to draw on his Omen curse to fight, the transition briefly takes on a sinister tone, underlying the darkness inherent in Morgott's being, before resuming its frenetic pace to solidify just how unwaveringly fixated Morgott is on stopping you, and interludes of strings and vocals bring the tragedy of Morgott's existence to mind before the crescendo. Fittingly, as Morgott is actually Margit, and is now facing the player at full power, his first phase is a higher-intensity version of the [[https://www.youtube.com/watch?v=UqIVy8SZ2ao already-excellent theme]] for that fight.
* [[https://www.youtube.com/watch?v=es2cMuepHZY Lichdragon Fortissax]] starts out as a solidly good bombastic dragon theme. The second phase hits and the organs go into overdrive, sounding like a perfect mixture between Champion's Gravetender and Darkeater Midir.
* [[https://www.youtube.com/watch?v=eg3kTnqgjrU Beast Clergyman]] initially starts off as a slow-paced, somber theme with ominous chanting and bells playing, appropriate for a creature wholly devoted to his task as guardian of Death. Then it enters the entering the second phase with a faster, more epic pace punctuated with frantic violins and mournful vocals, fitting of Maliketh's status as both TheDreaded and one who now is consumed by a desperate determination to not fail his duty again.
* [[https://www.youtube.com/watch?v=mh5dECtyO-E Dragonlord Placidusax]] starts in a more subdued manner than other dragon fight soundtracks, but the opening choir perfectly captures the dread players have when they approach the titular king. Then the drums and orchestra sweep in as the players struggle to defeat him with the strings buildup foreshadowing what is to come. When the fight enters the second phase, the orchestral track becomes more frantic as the dragon king unleashes more powerful attacks. As the result, the track presents the Dragonlord as the force of nature and the tarnished as someone desperately trying to survive a natural disaster.
* [[https://www.youtube.com/watch?v=gTN2LZVJ_-Q Mohg, Lord of Blood]], with its heavy bells, harpsichord strings, and ominous chanting really sells the tense Gothic atmosphere of battling a towering [[SatanicArchetype satanic]] warlock in a blood-soaked cathedral. After the phase transition kicks off with a crescendo, it fluctuates between these continued peaks and anxiety-inducing vocal and string buildups, as if to communicate the true horror and sadistic evil of Mohg's abilities and ambitions.
* [[https://www.youtube.com/watch?v=7GXUPnTepTM Malenia, Blade of Miquella]], from veteran Creator/FromSoftware musical composer Yuka Kitamura, begins with a calm violin theme accompanied by a OneWomanWail reflecting said demigod's sad state, due to the Scarlet Rot ravaging her body and how much she misses her dear brother Miquella, as well as the graceful, measured, dignified, dance-like pace of her [[LightningBruiser fighting style]]. And then it transitions into phase two, where it quickly escalates into frantic but still-mournful strings and cymbals with OminousLatinChanting, representing her blossoming into the Goddess of Rot and the new aggression and power her full strength entails, tempered by the tragedy of such a prideful and noble warrior's will being broken by despair and desperation after a lifetime of agonizing resistance. This second phase theme can also be heard during the story trailer when Malenia battles and then infects Radahn: fittingly, the song is synchronized to her blooming in both the trailer and the boss fight.

* Once you get to the FinalBoss, the title theme receives a triumphant BossRemix, [[https://www.youtube.com/watch?v=fi0NxuDUuv4 producing a theme]] befitting a climactic battle for the title of Elden Lord. Then, for phase 2, it changes to a reprise of the ''buildup'' of the main theme into a strikingly serene piece, using a OneWomanWail and chorus to demonstrate the size, majesty, and otherworldiness of your final challenge.

* The [[https://www.youtube.com/watch?v=qpWgalUZsTM Godskin Apostles]] theme is an almost nonstop choir that conveys the danger of beings that once possessed the power to slay gods, as they're some of the more challenging and skill-based enemies in the game.

* The [[https://www.youtube.com/watch?v=qpWgalUZsTM Godskin Apostles]] theme is an almost nonstop choir that conveys their danger, as they're some of the more challenging enemies in the game.

* [[https://www.youtube.com/watch?v=6R3ouGNcACQ The main theme]] composed by Tsukasa Saitoh is just straight up epic; it begins with a series of piano notes that sound similar to Gwyn's theme, before morphing into a truly heroic arrangement of drums and EtherealChoir, almost heralding ''Elden Ring'' as TheTimeOfMyths, and a HighFantasy adventure the player is about to embark on. Bonus points for being the very first theme heard, all the way back to the original announcement trailer. It also receives a BossRemix for the FinalBoss.

* [[https://www.youtube.com/watch?v=mh5dECtyO-E Dragonlord Placidusax]] starts in a more subdued manner than other dragon fight soundtracks, but the opening choir perfectly captures the dread players have when they approach the titular king. Then the drums and orchestra sweep in as the players struggle to defeat him with the strings buildup foreshadowing what is to come. When the fight enters the second phase, the orchestral track becomes more frantic tempo as the dragon king uses more powerful attacks against the player. As the result, the track presents the Dragonlord as the force of nature and the tarnished as someone desperately trying to survive a natural disaster.