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Assassin's Creed (2007)
- While the first game's soundtrack is not as memorable as, for example, the second, the theme of Jerusalem, appropriately named City of Jerusalem, is most definitely extremely beautiful. What makes it even better is the fact that composer Jesper Kyd combined Middle Eastern with Christian music themes to show how the city was still separated into Muslim and Jewish parts back then.
- "Access the Animus". Nine minutes of exactly why Assassin's Creed I wins so very, very hard. A steady progression from quiet and deadly atmospheric ambience to stealthy evasion to outright incredible action music.
- "Red in the Face". Just the action music part. It's almost worth getting detected just to listen to this while freerunning.
- "Spirit of Damascus" sounds like it could be just slightly out of place (it would be very fitting for an Ancient Egyptian city) but this track and the scene accompanying it the first time you hear it give a taste of what's to come in terms of Scenery Porn, not just in this game, but in the entire series following it.
Assassin's Creed II
- There's "Flight Over Venice" and Part 2, along with "Back in Venice".
- The most distinctive score is Ezio's Family which is played in opening sequence of the game. It may give you second thoughts after you discover the Auditore family's fate.
- Heart, is great as well especially as it plays when Ezio finds his father's iconic Assassin's robes and suits up for the first time.
- The beautifully frenetic Venice Rooftops, which plays during most race and courier sequences, both in the main story and in side missions. Later remixed for Ezio's crossover in Soul Calibur V. A remix of "Ezio's Family" runs through this piece. It is particularly poignant that said remix can be taken as a reference to Ezio's own thoughts as he free-runs, remembering back in the carefree days when he used to do this with his brother, before the latter as well as his father and younger brother were hanged by Templar conspirators.
- End Fight, which was inexplicably excluded from the official soundtrack.
- Sanctuary, a poignant and beautiful piece that plays through-out your time in Venice, that perfectly portrays the triumph and heartbreak Ezio must feel being an Assassin.
- Hell, let's just say EVERYTHING in Venice, including Dream of Venice. Combined with the Scenery Porn, it makes it probably the most enjoyable city in the entire game.
- One piece of music which is truly lovely is "Peace at Forli" which first plays when Ezio and Leonardo sail from Forli for Venice and then memorably plays during Ezio's "World of Cardboard" Speech in the Bonfire of Vanities DLC and then finally makes a stirring comeback in Assassin's Creed Embers playing during Ezio's final moments and the letter he left behind. It's Tear Jerker music at its finest.
Assassin's Creed: Brotherhood
- These New Puritans "We Want War", for the first multiplayer trailer of Brotherhood released at E3 2010.
- "City Of Rome", while similar to "Flight Over Venice", has a haunting depth to it.
- The organ and choir music used as leitmotif for the Borgia is deliciously ominous. Not to mention the dramatic effect whenever Ezio destroys a Borgia tower.
- The end credits combine both "Ezio's Family" and "Venice Rooftops" into one, and they flow surprisingly well into each other.
Assassin's Creed: Revelations
- The song from the E3 trailer is "Iron", by Woodkid. It is an amazing piece, both musically and lyrically (though they can be difficult to understand — see here) and sends chills down one's spine on repeated listenings, playing as it does over Ezio being an utter badass.
- "The Forum of the Ox", which plays while you're jumping across ruined ledges to chase a boat over deadly rapids. Truly an Assassin's Creed moment.
- Although only an advert, the music to the Assassin's Creed: Revelations trailer was just brilliant.
- "Laboured and Lost", which plays during the game's ending, showing the end of the First Civilisation. It's truly a powerful moment and the music just heightens that. Its awesomeness must be seen to be believed.
- "Welcome to Constantinople" is incredibly melodious and light, a sense of serenity, hope and new horizons all at once, which captures Ezio's feelings in Istanbul and his late age.
- "The Revelations theme" is worth a mention. Soft, sombre, and haunting for the main part; turned dramatic and powerful by the end!
- "Enough For One Life", which plays when Ezio "speaks" to Desmond through the Animus. A beautiful and haunting rendition of the game's main theme.
Assassin's Creed III
- "Trouble in Town", the angsty, turbulent music which plays during the Boston Tea Party, and when you are chasing Charles Lee. The mission is That One Level at Full Synchronization but if you time it right, its the ultimate chase music for the ultimate chase sequence. It also plays during the credits.
- There's also this unreleased track that plays when Connor travels through the forests and the frontier.
- The unreleased track called Homestead theme from III captures the solitude, peace and beauty of the settlement in the forest and also sounding like a mix of Native American and European themes, without being either, symbolizing the harmony which sadly never happened.
- Though its part is unfortunately short, the Fight Club theme is a fantastically fast-paced piece both catchy and fun.
- "Connor's Life" perfectly captures just how painful Connor's story is.
- The main theme, which comes in three different flavors.
Assassin's Creed IV: Black Flag
Assassin's Creed IV: Black Flag gives us delightfully Pirates of the Caribbean-esque triumphant boarding themes among many others.
- Black Flag is filled with numerous actual sea-shanties that you can collect on land, including favorites like "Drunken Sailor" and "Spanish Ladies", but also obscurities like "Randy Dandy Shanty". These shanties can be played by Jack, one of your crew, like the 18th Century version of GTA Radio and when sailing in rough weather, truly makes the game a magical experience, making you bond with your crew and the surroundings and feel the excitement of being part of the Wooden Ships and Iron Men generation. Especially "Fish in the Sea" when played in a rough gale or in a storm:
- The tavern songs that are played by a live crew with violins and old guitars are lovely. "The Trooper and the Maid" and "Blow the Candles Out" are both bawdy songs. Then there's "The Parting Glass", a traditional Scots-Irish folk song played at the end which sums up Edward's entire journey and the game.
Our 'prentice Tom may now refuse
- The most fitting tavern song for the game, for its theme and setting is "Here's a Health to the Company"."Here's a health to the company, and one for my lass,
Let us drink and be merry, all out of one glass,
Let us drink and be merry, all grief to refrain,
For we may or might never, all meet here again."
- For those who have an interest in historical popular music (and fans of Sharpe), "Over the Hills and Far Away" is a real standout:
To wipe his scoundrel master's shoes
for now he's free to sing and play
over the hills and far awayOver the hills and o'er the main,
Through Flanders, Portugal, and Spain,
Queen Anne commands and we'll obey
Over the hills and far away
- The most fitting tavern song for the game, for its theme and setting is "Here's a Health to the Company".
Assassin's Creed: Freedom Cry
- Fight the Oppressions, one of the battle songs.
Assassin's Creed: Rogue
- The main theme, containing elements of Ezio's well-known Leitmotif, Ezio's Family.
- Forest Swords' original work, Hood was created for the announcement trailer, and sounds very foreboding.
- Streets, a motif that appears throughout the soundtrack to signify the wide-open winter-world that Shay explores, would not sound out of place in a game like Skyrim.
Assassin's Creed Unity
- Lorde's cover of Tears for Fears' "Everybody Wants to Rule the World" (from The Hunger Games: Catching Fire) set to the trailer, anachronistic as all get out, but awesome.
- After using Woodkid's "Iron" for the trailer of Assassin's Creed: Revelations, they use another track, "The Golden Age" for the CGI trailer introducing Arno and Elise.
- And from the co-op trailer, we have Pistols at Dawn.
- This was chosen for the Launch Trailer.
Assassin's Creed Syndicate
- The Toydrum remix of "In the Heat of the Moment," by Noel Gallagher's High Flying Birds.
- Bloodlines, the main theme of the game.
- Underground, the song that plays during the final modern day sequence as well as over the credits. The lyrics are particularly haunting, especially if you think of the various Assassins we've known throughout the years and in particular, Desmond.
- Those who fought for something better,
Those who taught by how they lived,
Loved ones taken long before their work was done...
- This game also brings back Ezio's Family from Assassin's Creed II, which has now become the iconic theme of the entire franchise, in the form of Family.
- "Jokes Jokes Jokes" is a manic, fast-paced tavern song that perfectly matches the mad theatricality of Maxwell Roth and ridicules him at the same time.
Assassin's Creed Origins
- "The Main Theme" which incorporates tunes from other songs in the soundtrack and combines them into one song.
- "Apep's Vengeance" serves as the background music for stealth in certain enemy camps, and transitions into a louder and faster version of itself if you get caught.
- "The Battle of Krokodilopolis" plays in the background of random fights, but will always play when doing the arena or getting in combat near the aforementioned city.
- The game's version of "Ezio's Family" which combines the feeling of the original song and the overall sound and theme of this game's soundtrack into one, and it sounds amazing.
Assassin's Creed ( 2016 Film)
- The whole soundtrack by Jed Kurzel (brother of director Justin Kurzel), from dark and ambient melodies to adrenaline-filled themes that boast Hispanic and Moorish undertones for the Animus action sequences.
- "This Is My World" by Esterly ft. Austin Jenckes, featured in the second trailer. Not only is it badass by itself but it connects to the film in ways from foreshadowing the prison break, to describing the Bleeding Effect, to setting the tone for the experience of Animus regressions.