Awesome Music: 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 II
- The main menu theme, which makes selecting and creating your character very worthwhile.
- "Prologue", which is obviously used in the game's opening sequence, introducing you to Lordran's backstory and an epic Action Prologue pitting Gwyn and the other Lord Soul bearers against the Everlasting Dragons.
- "Taurus Demon", which plays on your encounter with the game's very first boss, the Asylum Demon, the Undead Burg's titular Taurus Demon and the Firesage Demon. Makes you want to run away for dear life.
- "Firelink Shrine", which is about the only place that you can consider as a safe ground in Lordran, aggro-ing NPCs notwithstanding.
- "Bell Gargoyle", making for a climatic fight against giant, fire-breathing gargoyles atop a church's roof. It also gets remastered in Dark Souls II as part of the Bellfry Gargoyle Bonus Boss fight.
- "Centipede Demon", which goes in hand with the dread that will build up on players as they die repeatedly against the Capra Demon and Centipede Demon.
- "Gaping Dragon"; fighting a mutant dragon with nightmarish features has never sounded more epic than when this track plays.
- "Chaos Witch Quelaag".
- "Daughters of Chaos", a fragile lullaby that whispers to your ears as you discover Quelaag's sister.
- "Iron Golem", featured in the climatic battle atop Sen's Fortress against the boss of the same name, or the Stray Demon upon your return to the Northern Undead Asylum.
- "Ornstein and Smough", which incorporates an entire orchestra and makes an Early-Bird Cameo as a Regional Riff when you finally arrive at Anor Londo. If anything, it's what makes this boss fight so damn fun, even if you die repeatedly to these bastards.
- "Gwynevere, Princess of Sunlight", an epic orchestral piece that captures the radiance of said character's status as the Big Good. Of course, it's a lie.
- "Dark Sun Gwyndolin", an eerie track which features One-Woman Wail after another, reflecting Gwyndolin's enigmatic presence. It is also shared by the Moonlight Butterfly's boss fight."
- "The Ancient Dragon", a stern, foreboding Ethereal Choir which plays as soon as you set foot in the Ash Lake, perhaps symbolizing the Everlasting Dragons' sorrow in their defeat aeons ago.
- "Ceaseless Discharge", which plays as soon as you provoke this fiery abomination, unleashing the might of a volcano in the process.
- "Great Grey Wolf Sif", a tragic piece that resonates within every Dark Souls fan, never forgetting the pain that hurt them while battling this righteous Noble Wolf who protected the grave of his late master Artorias.
- "Crossbreed Priscilla", a mysterious track that blends in with Priscilla's Mystical Waif-ish qualities.
- While leaning towards the creepy side of things, "Pinwheel" perfectly conveys the distress of the necromancer Pinwheel, whom the fandom gave a very tragic background.
- "Gravelord Nito", a haunting piece which features an equally foreboding chorus and and eerie wail that imitates the wind.
- "Seath the Scaleless", a bizarre track which reflects the blind dragon's insane state.
- "Bed of Chaos".
- "Four Kings", a nerve-wrecking theme which features a deep male chorus, oppressive brass and panic-inducing violins. It's one of the most nightmarish pieces in the entire soundtrack, which translates into an equally scary boss fight against what are essentially corrupt spectres from beyond.
- "Gwyn, Lord of Cinder", a melancholic piano piece that initially doesn't sound fitting for a Final Boss, but makes sense once you learn about what motivates him still despite his age-long suffering.
- Artorias of the Abyss adds several more boss fights (and they're awesome), all with their unique themes.
- Last, but not least, is the "Nameless Song", a soothing One-Woman Wail which congratulates you upon finishing the game.
Trailers and fanworks
- The game's main menu theme makes for a chillingly good Call Back to Demons Souls.
- "Things Betwixt".
- "Majula", the theme of the place you will be often returning to, akin to the Nexus of Demons 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".
- 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 made even better when you realise that this is sung not in Sakuraba's usual Ethereal Choir, but genuine Latin, the lyrics encompassing the warrior's views and an added reference to the game's main plot.
- 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.
- 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."
- 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."
- 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!"