Awesome Music / Dark Souls

Dark Souls's soundtrack, composed by Motoi Sakuraba, is home to a plethora of awe-inspiring, often sinister, boss themes, despite the obvious lack of music for most of your trip throughout the world, something which is repeated to great effect in the sequel. Unmarked spoilers ahead.

Dark Souls

Dark Souls II
  • For this game's composition, Motoi Sakuraba had assistance from Yuka Kitamura, notable for her Orchestral Bombardment in "The Old Dragonslayer" and "Veldstadt, the Royal Aegis".
  • The game's main menu theme makes for a chillingly good Call Back to Demon's Souls.
  • "Things Betwixt".
  • "Majula", the theme of the place you will be often returning to, akin to the Nexus of Demon's Souls and Firelink Shrine from Dark Souls.
  • "The Last Giant".
  • "The Pursuer". which befits the Terminator-like knight who hunts you relentlessly through Drangleic.
  • "The Dragonrider".
  • "The Old Dragonslayer", which heralds the return of a familiar face who proceeds to engage you in an epic church brawl.
  • "Ruins Sentinels", the boss theme for the eponymous bosses and the Smelter Demon. You gotta love when the piece picks up at 1:12 with an epic chorus, raising the stakes for an already hard boss fight.
  • "Skeleton Lord", a frenzied track fitting with the numerous enemies you'll be facing during the Skeleton Lords boss fight.
  • "Executioner's Chariot", which keeps you on the edge as you frantically try to avoid getting crushed by the chariot and its two-headed horse.
  • "Old Iron King", an intimidating theme for an intimidating Big Red Devil that makes the Balrog blush.
  • "Royal Rat Authority".
  • "The Duke's Dear Freja".
  • "The Lost Sinner".
  • "Royal Rat Vanguard", a ridiculously epic track for a fight against... giant rats who Zerg Rush you. note 
  • "Looking Glass Knight", which goes extremely well with the unbelievably awesome Battle in the Rain against King Vendrick's lieutenant.
  • "Milfanito", which resonates throughout your trip in the Shrine of Amana. It's sung by the eponymous Milfanito shrine maiden, but later in the level you learn it's also a mimicry devised by the Demon of Song, which sports its own creepy theme.
  • "Velstadt, the Royal Aegis", a sinister symphonic piece, complete with tragic violin bouts, oppressive brass and a frightful Ethereal Choir; all of these elements lead the player to think Velstadt is protecting an unbelievably dark secret.
  • "King Vendrick", an eerie track that goes with the baffling atmosphere when you find what's left of Vendrick, mindlessly strolling around naked and Hollow.
  • "Guardian Dragon".
  • "The Ancient Dragon", otherwise known as Oh Crap! in musical form. Jumped in scare after unwittingly provoking the godly Ancient Dragon into a fight? We don't blame you.
  • "Darklurker", a dissonant Ethereal Choir which fits with the terrifyingly powerful Humanoid Abomination you find in the depths of the Dark Chasm of Old.
  • "Throne Defender, Throne Watcher".
  • "Nashandra"; while the 25 first seconds are a gentle piano piece referencing the unused Leitmotif "Queen of Drangleic", it quickly plunges into a sinister chorus worthy of a nightmarish Final Boss.
  • Once again, the ending credits reward you with a soothing melody in "Longing". In Scholar of the First Sin, after "Longing", the longer credits are accompanied by a haunting piano piece called "Remains".
  • As the first instalment of the Lost Crown Trilogy Downloadable Content, the Crown of the Sunken King adds three goodies to kick start the DLC frenzy:
    • "Elana, Squalid Queen". A degenerate and frantic theme that draws parallels to Nashandra's Boss Remix, indicating that this Child of Dark is someone who is far more powerful than the Final Boss we're presented with in the vanilla game. Dissonant as it is, you can make out infrequent soothing lullabies amidst the rest of the song, which can only be described as savage.
    • "Sinh, the Slumbering Dragon", incorporating en entire orchestral suite that embodies the grandeur of Shulva's past glory and the creature that the citizen once worshipped.
    • "Graverobber, Varg and Cerah", a fast-paced piece that goes well with your mindset for the boss, which means trying to outsmart the terrifying trio of adventurers.
  • What little the Crown of the Old Iron King has to offer makes up for brilliant quality.
    • "Raime, the Fume Knight". This boss' haunting darkness takes physical shape as the brass and male choir mercilessly oppress you with a frantic beat while you're on the receiving end of a beatdown by the Fallen Hero that springs forward to defend his beloved dark lady.
    • "Sir Alonne" is a straight-up display of pride that imperiously calls you forward to duel with the most badass katana user in the Souls franchise. It's frequently considered the most memorable boss song in the game by players thanks to its grandiose Ethereal Choir.
  • Crown of the Ivory King concludes the epic adventure that is the Lost Crowns Trilogy by adding three pieces that simply feel foreign and supernatural to Drangleic, the scale of which is far larger than what we are presented with in the base game.
    • "Aava, the King's Pet". Solemn and filled with depressing vocals and melancholic violin bouts that would make Shadow of the Colossus proud, this track represents the ice tiger's duty-bound nature as Alsanna's protector, despite knowing that its master, the Ivory King, is gone. The message of this song is clear: you are not welcome in Eleum Loyce, and Alsanna will warn you one last time.
    • "Lud and Zallen, the King's Pets". You've been trekking in the Frigid Outskirts for so long that you lost track of where you are headed, and then suddenly you enter an arena where two vicious shadow tigers come down on you, with this song blaring in the background.
    • "Burnt Ivory King". From the gates of the Old Chaos, he, the former ruler of Forossa, emerges, carrying with him the hellish inferno of this track's chorus, with a small respite around the 1:15 minute mark before coming back to a ferocious beat.
  • "Aldia, Scholar of the First Sin". A melancholic piece, fitting for the finale of your journey, as Aldia himself becomes your final test of courage, allowing you to decide the fate of Drangleic.

Dark Souls III
  • The Abyss Watchers' theme is a beautiful, sad piece that really hammers in how far the knights have fallen to the Abyss they swore to defeat. The bell heard throughout the theme also hints at their founder, Knight Artorias.
  • Just the theme of the Main Menu is enough to send chills down many players' spines with the gradual build of its haunting vocals and solemn strings.
  • Pontiff Sulyvahn starts out quiet and slow, but quickly picks up to match the intensity of the fight. The booming and downright majestic sounds of the second half were used to great effect in the Accursed Trailer, where it matched perfectly with the intense visuals and action.
  • The Dancer of the Boreal Valley, which perfectly accents the mysterious nature of the boss and the fight by being composed mostly of a long ethereal One-Woman Wail, accented with hollow beats that sound suspiciously like the Dancer's footsteps. Definitely a change of pace from the normal bombastic orchestral pieces and it absolutely works.
  • Three piano notes. That's all it takes for the final boss, the Soul of Cinder, to clue you in to exactly who you're fighting, with all the emotional weight it entails for series veterans.
  • Say what you will about the boss fight itself, but the theme of Yhorm the Giant is one of the most grandiose and epic themes featured for the Lords of Cinder. For starters, it comes off as the original track featured in the glorious end of the announcement trailer; then, with an imposing male choir supported by female vocals throughout, intense string motifs and heavy on-and-off brass beats, the fight comes off not as challenging, but as one of the most thematically impressive battles seen in the series.

Trailers and fanworks
  • Dark Souls's marketing campaign featured a few noteworthy songs which quickly grew with the fandom.
  • The Lordvessel Song, performed by fan artist Tanooki Suit, truly embraces the lore of Dark Souls as a whole.
    "I will march through the dark. Like the hero before me."
  • Solaire's Sun, a jaunty song about everyone's favorite Sunbro and the benefits of jolly co-operation.
  • Dark Souls II showcased even more awesome trailers before its launch, namely:
  • Ashelyn Summers' professional singing brings us "The End". Like Tanooki Suit before her, her lyrics encompass the Cursed Undead's epic struggle against fate in Drangleic.
    "Will I be released? From this prison of eternity? Is it all in vain? Or will I live to see... The End?"
  • Miracle of sound has made one song for each Dark Souls game.
    • YOU DIED is the one he made for the first one. It is a perfect representation of what happens to most players within the first hours they spend playing.
      "Your journey it began because YOU DIED. Out of your cell you ran and then YOU DIED."
    • And Fires Far is the one he made for the second one. This one does a good job of giving the viewer an idea of Dark Souls II's lore, and is an awesome tribute.
      "Fires far. Journeys not remembered now. Tired, scarred. Kneel among the embers now."
    • Finally, Fires Fade, for Dark Souls III, is an epic orchestral send-off to the franchise.
      "Fires fade. Wills of steel to temper. Come reignite this hopeful flame."
  • Inspired by fans' pleas to make a secret boss in Dark Souls, HellkiteDrake replaced Artorias with the Legend, Father of the Giants, complete with his customized boss theme (in turn inspired from Excision's memetic "Bass Cannon").
  • Games We Play created "Don't Wanna Go Down To Blighttown" as a homage to the biggest That One Level in the franchise. It lays out in great detail why Blighttown is so infamous. (NSFW Lyrics)
    "Come to the city past the Depths, kiss your ass goodbye,
    'Cause this is our town, Blighttown, GET READY TO DIE!"
  • Alex Roe, the man responsible for Undone by the Blood, created notable melancholic remixes of boss themes and an entire album based on Bloodborne's own soundtrack. Kodoku is a Dark Souls II remix of one of the Old Iron King DLC's boss themes. In this case, the Leitmotif of the Samurai-esque knight, Sir Alonne. This remix gives a more eastern vibe and fits him quite nicely.
  • The music in the announcement trailer for Dark Souls III is quite gorgeous, as is the music from the second trailer, which was later used as the main menu music for the network stress test demo. The game's soundtrack upon release has received overwhelming praise, with many calling it the best soundtrack in a Soulsborne game period.
  • Kingdom Fall by Claire Wyndham, used in the trailer for DSIII of the same name, is absolutely stunning and can definitely be applied to the situation of most of the Lords of Cinder.
  • This Epic Rock Remix of "Gwyn, Lord of Cinder" by LittleVMills manages to make it even more tragic. His Epic Metal Cover of the Dark Souls 3 Theme, however, sounds suitable for a boss battle.

Alternative Title(s): Dark Souls III