The world of Pandora may be a planet of barren wastelands, tundra, desert, or blight and thriving with bandits and deadly creatures, but the seamless mixing between ambient and combat themes is incredible in and of itself. Here's some specifics.
- What is the first music that you hear upon starting from the title screen? The main menu theme, which serves as a reminder that Borderlands is a Space Western adventure.
- The background music of Fink's Slaugtherhouse features a disco-like theme with electro music, dub-step and drum beats which makes you feel like dancing more than shooting.
- The Lynchwood combat theme. Badass showdowns, Borderlands style.
- The Bandit Circle of Slaughter Theme is a pulsing house beat that might make you feel like John Wick if you're not careful.
- Sanctuary Under Attack. It only appears for one scene, with too much background noise to hear it well, but the feeling of desperate urgency in that scene owes a lot to this track.
- Three Horns Divide and Valley has great ambient and combat themes. The former is desolate and cold and paints the area as a barren wasteland long since abandoned by the major companies and left for the raiders to pick apart, while the latter's heavy use of a resonator guitar adds a sort of oomph to the music.
- Caustic Caverns' battle theme, with its drum beats and guitar riffs, is very appropriate in an abandoned mining site while being chased by varkids, crystalisks, and threshers.
- The background music of Flamerock Refuge fits the "fantasy / old village" theme of the Tiny Tina: Assault on Dragon Keep with its usage of persistent drum-tapping and windpipes similar to some RPG music.
- What do you get when you combine the game's main menu theme with more instrumentals and some chimes and trumpets? The theme of Frost Bottom from the third Headhunter pack.
- The music in Gingerton is made to reflect the conflict in the DLC's story.
- The Frost Bottom Ambient theme starts out with a whimsical prelude that reminds one of the old Rankin/Bass Christmas specials, and then segues into what sounds like the Main Menu theme redone as one of Mannheim Steamroller's Christmas carols. As soon as you set foot in Frost Bottom, there is no mistake that you're stepping into a Borderlands Christmas special.
- Once combat starts, the music enters a conflict between Tinder Snowflake's oppressive synthesizers and Gingerton's traditional orchestra in the Frost Bottom Combat Theme.
- And finally, there's the climactic final battle against Tinder Snowflake, which takes the form of a mashup between a loud and brassy orchestral "God Rest Ye Merry Gentlemen" and a funky electronic "Good King Wenceslas".
- All of the music from Mr. Torgue's Campaign of Carnage. 80's power ballads have never been so appropriately atmospheric.
- The final boss music for the second Headhunter pack makes fighting the Wattle Gobbler feel more like a deranged barnyard chase.
- Tiny Tina's Assault on Dragon Keep gives us the theme for the climactic battle with the Handsome Sorcerer. The DLC may mostly be satirical, but the Handsome Sorceror's theme is as epic and mystical as a mighty sorcerer's theme should be. Since it is a Suspiciously Similar Song compared "The Great Pyramid" theme from Serious Sam The First Encounter, it might also be an intentional shout out.
- Hammerlock suggests you drive out the raid boss by agitating it with a specific range of low-frequency tones, using Eridium to fuel the devices to create an ambient sonic atmosphere through a sonic drop. And what happens after you drop it? Speakers around the area force Haderax the Invincible into the open as rock and electro pumps into the cave!