Follow TV Tropes

Following

Awesome Music / Granblue Fantasy

Go To

  • "Black Silver Wings", the theme for the battle against Bahamut. What begins as an imposing, fearsome, "You have no hope" orchestral track breaks into a passionate power metal ballad as Bahamut's power is unleashed. It wonderfully encapsulates the feeling of finding out that your very first summon is actually a fragment of the single most powerful being in the world, and proving that you are without a shadow of doubt worthy of commanding its power and respect. The theme for Ultimate Bahamut takes the normal theme Up to Eleven for sounding something like a triumphant remix of Bahamut's theme, starting out with a foreboding orchestral track before switching to an intense metal piece as Ultimate Bahamut's power is unleashed. This fan cover of the April Fool's version of "Black Silver Wings" takes what was a humorous song and has the singer, an Italian soprano, and the instrumentation of classical, bass and electric guitar elevate it to epic levels.
  • The themes of the first islands, which are later played as Triumphant Reprise versions in the respective battle themes of the Omega/Magna bosses listed below.
      Advertisement:
    • "Auguste Isles: Babbling Falls" starts off with the violins and plays like a classical dancing/dinner music for its first half, but gradually shifts into a triumphant reprise accompanied by piano for the remaining half. Some parts of it even sound similar to an orchestral version of "Memories of You" from Persona 3.
    • "Lumacie Archipelago: Mystic Woodlands" is a slow-paced, relaxing piece making use of acoustic guitar, flutes, violin, and windpipes. It really gives a refreshing vibe of a calm forest.
    • "Tramont Island: Reason Unraveled" the theme for the Mist-Shrouded Isle, is a track fitting the mysterious background of the island that alternates between a calming piano/violin melody representing the "lonely" nature of wanting death and a fast-tempo section representing the "horrors" of encountering ghosts and zombies.
  • The Omega boss themes are spectacular, with each unique track complementing their respective boss's personality.
      Advertisement:
    • Tiamat Omega kicks off immediately with aggressive tribal chanting complimented by an impressive set of wind instruments and drum work that do well to convey the feeling of being bombarded by a living hurricane. Now has its own remix in the anime.
    • Colossus Omega's theme starts off subtly before breaking into keyboard and synthesizer, giving it a distinct techno-electronic vibe, contrasting to the orchestral composition of the other boss tracks.
    • Leviathan Omega's theme is distinctly slower and more somber than the other five Omega boss themes, complimented by a prominent brass and wind section. The whole piece has a melancholy air to it, even during its triumphant crescendo, reflecting Leviathan's role as a Tragic Monster in story.
    • Yggdrasil Omega's theme focuses heavily on a combination of electric guitar and piano to create a very Final Fantasy-esque track that would not be out of place as the final boss music in other games. Notably, it was voted to be the best song in the game by fans.
    • Advertisement:
    • Luminiera/Chevalier Omega's theme is immediately intense and oppressive, sounding much like a deranged military march, which suits Vira's madness quite well.
    • Celeste Omega's theme takes some notes from Tramont Island's theme, converts it into a more menacing tone, and conveys a sense of dread throughout, fitting for her Gradual Grinder fighting style and constant zombification of your party.
  • The The 22 Apostles and To Sephira, both start out slow, gradually speeding up as the TP counter ticks down with every turn taken in battle. In contrast, the battle theme for the Discarded Puppets goes all in, taking from both "The 22 Apostles" and "New World Order", starting out with a faster arrangement of "The 22 Apostles" and later using parts of "New World Order" as the puppets reveal a sneak peak of these summons against the party.
  • "New World Order" from the battle against Inchoate World and the other Arcarum bosses. While the lyrics are Engrishy at places, they sound glorious and fitting, describing the Arcarum and their role in the creation of the world. When you face them, this song will remind you that you are fighting the forces that preside over fate.
  • "The Stars High in the Sky", the theme for the fight against Grand Order. Nobuo Uematsu decided to give his all to remind you of all the final boss battle themes you have listened to in the past, and he's doing so with a tune that shifts mood from tense to calm but foreboding then to a bridge that sounds like it is not taking you seriously, only for all of a sudden go all the way to "playtime is over, get ready to die".
  • "A Distant Journey, Soaring on the Warfront", which plays for certain battles like the bosses of the "Footprints on Sacred Ground" event, is an astounding yet solemn piece, sounding akin to a remix of the battle theme used when faced against primal beasts. The orchestral version is just plain beautiful. It's used to great effect during the "Ranger Sign: Bravo" event as the theme for the battle against Jade.
  • "History's Watershed", a theme used in several bosses, but most especially, the recruitment battle against the Ten Eternals and the boss battle for you to obtain the tier IV class. It starts up low and builds up in intensity, depicting a fateful duel against someone who is not your enemy, but must be fought anyway due to circumstances.
  • "Rose Queen", the theme of the fight against... well, the Rose Queen, can only be described as an Ar tonelico song that wandered into the wrong game, down to having a vocal track of Haruka Shimotsuki singing in Conlang (that in-game only kicks in for the last third of the fight, completing the already inspiring instrumental and making the climax of the battle that much more hype).
  • The battle against Sandalphon marks an important milestone in the long, arduous journey to Estalucia, like the end of an arc in a long-running anime series, and "The Fifth Primarch", the theme music for that battle, makes sure to remind you of that fact with a tune that would fit the final boss of any other single player JRPG, complete with Ominous Latin Chanting.
  • "The Trial of the Four Primarchs" is an absolute triumph in tone with its angelic choir as the rulers of the tetra-elements eagerly guide the Singularity in battle to greater and loftier heights. The final portion that triggers when the Primarchs transform as they now throw everything they've got at your party is amazing for capturing just how close the party is coming to beating the Primarchs in battle.
  • "Defend Order - Offensive Defense". Usually known as the other Gratuitous English song besides "Black Silver Wings", it manages to be just as cool even though it goes for a diametrically opposite tone: where one is intense, dramatic and meant to carry the sheer threat of Bahamut, this one is uplifting, heroic, and serves as the Bragging Theme Tune of your own crew. Hilariously, it's mostly used as the final boss theme of summer events, meaning that it mostly evokes memories of epic fishing action.
    Scream your name out to the end of the sky and carve your memory into legend!
  • "Battle Against Mortals". Most prominently heard in the game in Chapter 63, the battle against the Black Knight. The battle is something that the entire first arc of the game has built up to and the soundtrack doesn't disappoint, illustrating that you're both fighting against what will likely be one of your most significant obstacles on the journey to Estalucia, and that ultimately it's a battle that neither of you want to fight, yet must in order to put the past to rest once and for all.
  • In the same vein as "Battle Against Mortals", "The Seven Luminary Knights" is a battle theme with a slow start but rapidly picks up the pace with a regal and oppressive feeling, perfect for a battle against the strongest known knights in the sky. Unlike "Battle Against Mortals", this one carries a distinct tone of menace, highly indicative of the first two knights who only ever oppose you for reasons that are questionable at best, and deranged at worst.
  • "Dydroit Belt: The First Sign" is a solemn, sentimental piano piece that feels as if you're walking down memory lane as you reminisce about the past. Fitting as the primal beast of Dydroid Belt has power over memories. A variation of this piece is also used in events at times, especially events where the SR character of the event has a backstory that would be Tearjerker worthy such as Grea from "Lonesome Dragoness". Notably, the piano piece that Grea played early in the event plays the tune of this theme.
  • "Second Advent" (formerly known as "God of the Moon"), the boss battle theme used in the "Right Behind You" event sounds like a Dark Reprise of the Platinum Sky theme where it felt as if more was at stake as you are about to face an opponent that you know nothing of. The remix, "Second advent (and third)", from the event with the same name is awesome as well.
  • The boss theme for "What Makes The Sky Blue II: Paradise Lost", also titled "Paradise Lost", sounds like a lost Linkin Park track and is perfect for fighting both the total pervo edgelord that is Belial as well as the Avatar of destruction that Lucifer tried to keep sealed away. The angry scream-rapping and crescendos to the chorus are even triggered by transitions in the fights perfectly! It also gains bonus points for being the first vocal track in Granblue to have been made with significant feedback from the English localization team, so the lyrics make a lot of sense for the situation at hand.
  • The Image Songs of the game are also worth listening to:
    • Lyria's song, which is titled... "Lyria", is a very calm and relaxing song.
    • "Song of the Three Men", a background track once used on the Bonito event is popularly known by fans for becoming a memetic, manly, and uplifting vocal song by Eugen, Soriz, and Jin wearing Fundoshi in the beach. What's more, this track plays over the BGM when initiating a Charged Attack with the Drum Master class equipped.
    • "Our Future" (PV Version) (Full Version) is on the opposite end of the masculinity spectrum from "Song of the Three Men". It is a perfect replica of a standard, cheery idol song, derived from parts of the series' main theme. And, like any proper idol songs, it is disgustingly catchy and sticks in your head very easily. Even the PV manages to be generic idol yet fitting and cute with just 2D sprites and some clever editing. It also comes in group and solo variants (Djeeta ver.) (Lyria ver.) (Mary ver.) (Vira ver.).
    • Ferry's "Sora no Michishirube" is a love letter to the rock genre, particularly the all-Female Japanese Rock bands. It also incorporates one of the game's common Recurring Riffs (notably Yggdrasil Omega's and Rose Queen's themes) in the song's intro.
    • "Over the Sky", the theme of Gran, Djeeta, Lyria and Vyrn, incorporates the game's main theme and is filled with uplifting lyrics and cheerful beats.
    • Narmaya's "Transient Butterfly Blade" is yet another example with an amazing combination of violin and electronic music.
    • "Pride" is Beatrix's song, using uplifting electric guitar and electronica as Beatrix affirms herself and her pride in the face of everything that could take her out.
    • Sandalphon's "Ain Soph Aur" describes all of the emotions Sandy wanted to share with Lucifer over the course of his character arc, and punctuates them with a strong, yet emotional melody and lyrics by Sandy's VA. It also doubles as a Tear Jerker, so have handkerchiefs close when you listen to it.
  • With the advent of the greater elemental summon's uncap and boss fight, their music has proven their own quality:
    • Europa's theme, "Last Gloaming", sounds like it came straight out of a Falcom game, complete with floaty violins and light electric guitar, instrumentation befitting the Celestial Beauty.
    • Alexiel's theme, "Sancrosanctity", is oppressive and overbearing from the start, pulling out all the stops with its orchestral brass and strings as she unleashes her full offensive and defensive might, but becomes uplifting near the end as you persevere against her.
    • Shiva's theme is a foreboding tribal beat complete with ominous chanting that feels like it came from a Nier game. The foreboding beats truly fit the fire of destruction that Shiva represents.
    • Grimnir's theme, "Dancing Windstorm", is filled with catchy guitar riffs and reminiscent of a Castlevania theme.
  • Robomi's theme is a gloriously cheesy throwback to Super Robot anime, complete with Ichiro Mizuki of Mazinger Z fame performing the vocals.
  • The basic themes:
    • Battle 1, in spite of being one of the most basic of the battle themes, being used for the most generic and irrelevant encounters, remains a surprisingly dynamic song that makes it not boring in spite of how you'd likely hear this a hundred time before even clearing all of the pinboard missions. The Fate-Episode Mix seems to play with the nature of the song being the most basic one, and with a change in the instrument made it feels even more trivial, pedestrian. Considering that the Fate Episode encounters are low level, even for new players, it fits.
    • Battle 2 has a start that sets this up as a pitched battler (even if it probably isn't one for the player, considering its basic battle theme status), keeps it up, and at the end of the loop it switches into something more hopeful (and reminiscent of a Touhou track) even as it keeps up the pressure.
    • Battle 3 keeps the fun and action going with its great melody. While only a bit less repetitive than Battle 2, the melody it has is so good that even if the battle is rather routine, this song provides a decent distraction from it. It is, in fact, good enough that it has been turned into a vocal song sung by Ferry, "Sora no Michishirube" (PV Version) (Full Version), that is simply a delight to listen to. Krelkulkil's battle for "Reflections for a White Clover" has it remixed as exciting fast-paced Japanese style music as the two Harvins at last confront one another over the demonic swords that have caused so much strife.
    • Battle 4 is quite likely to be one of the tracks you hear the most, especially early on, as you grind through the uncap items special quests. And, thankfully, it is good. And epic. It can make grinding less tedious than it is.
    • "Battle With The Crystal/Primal Beast" is the basic raid music, as you fight against the bottom tier of the raid quests, primarily the basic variant of the Primal Beasts you fight early in the main story. And it is epic and awe-inspiring enough that it remains so even after a long time, and it is used as build-up music in the anime as well.
    • The Main Theme is used as a leitmotif and remixed into many different songs in the series, including the early part being remixed into "Battle With the Primal Beast" and many other songs, including vocal ones.
  • "Dominion Black Dragon" in the "Persona 5: Thievery in Blue" event is basically the lyrics of "Black Silver Wings" but with the general tone of Persona's soundtracks, notably Persona 5's "Rivers in the Desert". Nonetheless, it's a gift for fans of both games, fitting the event's theme and story.
  • The Nalhegrande theme is very triumphant, reflecting the new discovery for both player and protagonist alike as they find bold new horizons to explore, with it peaking at 2:05 as the music swells and the clouds drift away in-game to show Merkmal Island. It also got remixed into the credits theme for the arc, carrying the familiar beats of "Lyria" while adding new ones as the characters have grown so much in the time between the two endings. The Nalhegrande theme has been remixed into "The Sins of Nalhegrande" for Nalhegrande Great Wall and Tiamat Malice battle, with all the epicness that entails.
  • The Edgelands theme burns through various instrumentation in its three-minute runtime, from melancholy acoustics with an accompaniment of percussion and piano, until it makes a marked shift halfway to synthesizer, and then shifting back to acoustics to blend it all together. This all builds up to one very consistent point: the Edgelands are the most arcane and mystical locale the crew has visited to this point, and likely will remain that way for a long time.
  • Caro's Song, the "Pregando Chorus", although short, is a calming song with Surprisingly Good English and an acoustic accompaniment. Given the theme of the "Together in Song" event, hearing this song can send one into Tear Jerker territory.
  • When you combine the Platinum Sky theme with an Arc System Works treatment à la Guilty Gear, the end result will melt your ears off.
  • "Parade's Lust", the theme for Avatar Belial in "What Makes the Sky Blue III: 000", may not be as memorable as Paradise Lost, but it's the perfect showcase of what kind of being you're facing: an edgy creep for which everything, even the end of the world, is an orgy. The 'bow chika wow wow' at the end (and yes, those are actual lyrics) is the cherry on top of a cake of depravity.
  • "Zero", the theme for the battle with Lucillius at the end of "What Makes the Sky Blue III: 000", as well as for his two raid quests, Dark Rapture — one of which is currently the hardest in the game — is a theme that any JRPG final boss would kill to have. It flows in a similar way to "Black Silver Wings" and "The Ultimate", with an instrumental beginning followed by a vocal part when the song starts picking up, all combined to give shape to an over 12 minute masterpiece, but where "Black Silver Wings" and "The Ultimate" have lyrics boasting about Bahamut's infinite, destructive power, Zero instead focuses on Lucilius's hatred for Bahamut and his desire to bring the world back to its original nothingness. It serves to make what already was an epic final battle even more epic. It's probably the best track in the "What Makes the Sky Blue" trilogy, and one of the best tracks in the entire game.
  • "What Makes the Sky Blue?" is composed solely for the finale of "What Makes the Sky Blue". It starts with a slow, melancholic background theme which fits perfectly for an arc's Tear Jerker ending, while also progressing into a more triumphant version in the middle, complementing the war segment of the event's climax. It is first played in the event's teaser trailer and makes a return in one of WMTSB3's final scenes where Sandalphon meets Lucifer for the last time. It's used for full effect in the last stage of Lucilius' Harder Than Hard version as he refuses to go down without a fight and is one of the few songs to not be fully divided into smaller pieces for a raid battle's Variable Mix, letting the melancholic song continue all the way to the end.
Top

Example of:

/
/

Feedback