The music that plays through most of Chapter 8 makes it one of the best parts of the game.
The track that plays in the first sections of the Epilogue chapter, Friendship, is nothing less than pure awesome, as it plays as Jeanne, having been released from Balder's mind control, pulls the greatest Big Damn Heroes rescue of the entire game, hitching a ride on a motorcycle onto a rocket heading to space to save Bayonetta.
Climatic Battle is incredibly memorable as well, if for no other reason than it's the song that plays right as you're about to literally take apocalyptic horrors calling themselves angels apart in the most gruesome-cum-awesome method physically possible.
The themes of the six most powerful angelic bosses (described below) are united in terms of instrumentation and overall atmosphere - all of them feature grandiose orchestral performances paired with powerful choirs. note It has been widely speculated, but not confirmed, that the choirs are singing liturgical lyrics in the Enochian language.
The Greatest Jubilee is truly one of the best final boss themes ever created. Sounding like a sacred cantata Bach would have only dreamed to compose (for its sheer complexity and staggering power), this piece is pure euphoria - which is appropriate, given it's the theme for Jubileus, who is God in female form.
Likewise, You May Call Me Father is also a great orchestral score, which matches the character of Father Balder very well - divinely powered, yet darkly natured. It reappears in Bayonetta 2 with nearly the opposite context – instead of being locked in combat with the Card-Carrying Villain Father Balder, you're fighting the unambiguously heroic Balder, whose motivation and valor might even make you feel like the villain for thwarting his quest. And even though the song itself isn't changed at all on the soundtrack, the new context repurposes "You May Call Me Father" into the theme of a noble agent of the light whose desperate quest to avenge his love is tragically misguided.
The tracks for the Cardinal Virtues may not have the general awesomeness of some of the other tracks that makes them as enjoyable played separately, but while fighting the bosses in question, you'd be hard-pressed to imagine a more appropriate track.
One Of A Kind. Hearing the slow Ominous Latin Chanting, followed by the violin riff while the camera zooms away from Bayonetta and Jeanne, all while they are falling off an absurdly high cliff and hordes of Angels come flying towards you, really sets the tone for the rest of the game.
One of the songs that plays during Balder's speech at the beginning of the chapter he appears in, Talking with Balder C. It fantastically captures the feel of the two most powerful humans in the Bayonetta universe squaring off like wolves about to maul.
The theme song Something Missing by Michi, as used in the commercials for the game. An upbeat and hopeful, yet almost soothing song that explains Bayonetta's motivations very clearly. It also serves as a nice contrast to all of the non-stop action that the game has to offer.
"Gomorrah, Devourer of the Divine" was used in the game's soundtrack trailer to show off the new score, and demonstrates the soundtrack's theme of sequential music extremely well, containing four different looping points depending on what stage of the fight the player's in – not to mention being surprisingly epic for a boss you fight in the prologue.
The music that plays in the "Gates of Paradise" chapter, "Glamor: In Charm and Allure", combines the soundtrack's theme of multi-stage tracks with Uncommon Time, since beating the hell out of an ice dragon is no fun unless you're doing it to a song in 7/4 time.
"The Lumen Sage and Temperantia", this game's equivalent of "Temperantia - In Foregoing Pleasures" plays during the second half of the first two duels with the Masked Lumen, while one of your Infernal Demons fights with one of the Auditio in the background. Appropriately enough, it also mixes in elements of "You May Call Me Father", foreshadowing who the Masked Lumen really is.
"Insidious: Consumer of All" has a menacing chorus that makes a great backbeat to fighting a giant underwater monster with a giant skull in its design. And then the song kicks into high gear halfway into the fight with a jump in tempo to let you know that this boss isn't messing around anymore.
"Loki's Crisis". It's the song that you hear while rushing to defend Loki from the Masked Lumen in Chapter 4, and it's enough to give even the most detached player a sense of desperation and urgency.
"Alraune: Whisperer of Dementia" is a playful synth and piano piece that sounds like something Bayonetta herself might use as a theme, but it matches the rose-themed demoness perfectly.
"Alraune: Whisperer of Insanity", on the other hand, is a powerful Dark Reprise of the aforementioned "Alraune: Whisperer of Dementia", showing that the rose demon is no longer playing around and means business. The song reaches an intense climax when Alraune has that last sliver of health and the Ominous Latin Chanting goes into overdrive!