Follow TV Tropes


Awesome Music / Bayonetta

Go To


  • Scarborough Fair Equipped. A great drum beat and skillful piano, which accompanies perhaps the most badass Lock-and-Load Montage in the history of beat 'em up games, which also incorporates a healthy dose of She's Got Legs, Weapon Twirling and Flair Bartending. Have a look. It's even inspired this song by MC Lars.
  • Hell, the BATTLE THEME itself probably is better to listen than Frank Sinatra's version.
  • Advertisement:
  • "Fly Me To The Moon", yet another Frank Sinatra tune, deserves a mention. Whoever came up with the idea of melding swing and techno with a sensual female vocal deserves an award or two.
  • Let's Dance, Boys!, the song that plays during the credits. That sax line just. Won't. Quit.
  • "Vigrid Town Areas" is a beautiful combination of jazz with haunting Ominous Latin Chanting. It says a lot about a soundtrack when even the ambient music has so much put into it.
  • The music being played when fighting Jeanne for the second time, an awesome, fast song with some killer piano and a cooing breathy girls' chorus in the background. Blood and Darkness during the final battle with Jeanne is even more awesome.
  • 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.
  • Advertisement:
  • 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 
  • "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.
  • Advertisement:
  • 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.
  • Two themes from classic Sega arcade games receive remixes that are a joy to listen to: the theme of After Burner, for the motorcycle race in Chapter 8; and the theme of Space Harrier, for the Unexpected Shmup Level Chapter 14.
  • The battle songs are definitely epic, but a few other tracks stand out for adding emotion to the game's cutscenes, such as...
    • Bayonetta and Luka, an adorable, warm piece that plays during the first genuinely friendly moment between the two.
    • The Gates of Hell, a relaxed, slow jazz piece that plays in Rodin's bar.
    • Cereza, a childish, lighthearted song for by far the most adorable character in the game.
    • Sexy Battle, to go with the dance-off between the two Bayonettas.
    • Luka's Crazy Idea A and Luka's Crazy Idea B, which play during some interesting moments between Bayonetta and Luka.
    • Iustitia Enters B and C, primal, drum-heavy, tense pieces to accompany the most abominable Cardinal Virtue.
    • Save Cereza!, a fast, frantic piece that impeccably fits Bayonetta's desperate search for her little one.
    • This piece, which plays after Balder throws Luka to his apparent death.
    • Luka Enters, to go with the game's plucky comic relief. Hello, Cheshire!
  • Magnificent Seven (Climax Mix) is a remix of the Boss theme from Fantasy Zone that plays at the end of Chapter VIII as you battle three Braves, and it is AWESOME.
  • Giant Military Transport Valkyrie. A shame it plays only on the first third of the airship stage, because it is just... awesome. The piano on the second half of the loop is just mesmerizing.
  • Riders of the Light, yet another battle theme that just oozes awesome.
  • 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.
  • Both the Cherubic Choir tracks playing in the Paradiso levels are ethereally beautiful and blend well with the positively gorgeous background.
  • Chapter 15's first half, Ithavoll Building - Lower Floors, as Bayo tears through searching for Cereza. Also gets a BGM Override.
  • Let's Hit the Climax! combines a climactic theme and a classical piano to make a noise worthy of killing a cardinal virtue.

Bayonetta 2

  • The sequel brings even more beautiful and awe-inspiring tracks to the line up, starting with a jazzy, high-speed remix of Moon River as the title song. The game's credits play the original Andy Williams performance of "Moon River", too.
  • The primary battle theme, Tomorrow is Mine, is particularly catchy.
  • "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.
  • "The Great War, Land Battle" and "The Great War, Aerial Battle", both of which play during the chapter where you control the Umbran Armor, perfectly capture the feeling of taking a last stand in a massive war.
  • "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!
  • "Raid!" plays when you fight the Bonus Boss Rodin the Infinite One, showing that you are absolutely screwed as you are fighting against the most powerful demon of all time, making you feel absolutely hopeless.

Bayonetta 3

  • The main theme, "Whispers of Destiny", is an incredibly beautiful, passionate and energetic theme backed by amazing violin and accordion sections.

Alternative Title(s): Bayonetta 2, Bayonetta 3