Project Moon games' soundtracks have always been pretty good, but Limbus Company made sure to start off strong, given that its OST is fantastic in both quality and variety.
Awesome Music pages are Spoilers Off. You Have Been Warned.
- The credits of each chapter has a song, "Pass On"note , that is sung by the Sinner that chapter focused on, and all the performances are beautiful in their own right.
Prologue and Canto I
- The first battle theme
opens the game with a bang, providing a disproportionately intense backdrop for what is still basically the tutorial, which swells into a more triumphant reprise as you gain the upper hand. - The first Abnormality battle theme is slower and gives off more of a suspenseful air, introducing you to the bizarre entities you'll be dealing with from that point on.
- False Apple's true form comes out swinging with a frantic, suspenseful song that indicates that the unfamiliar Abnormality has raised the stakes, particularly since you've just seen it devour Yuri and transform into a horrific new form. It's reminiscent of both "Second Warning" from its predecessor Lobotomy Corporation as well as "Venari Strigas" from Puella Magi Madoka Magica, both very appropriate for what happens. Once you gain the advantage, the theme changes to a bombastic remix of the Limbus Company Leitmotif that'll energize you to lay the smackdown on the Apple and avenge Yuri's death.
Canto II
- Both the Tingtang gang and Casino themes turn the suspense and gloom of Canto I on its head, being bombastic and insanely catchy jazz-and-guitar battle themes instead.
- The Abnormality battle theme is a powerful rock theme that is almost unreasonably intense for the toy-like Abnormalities fought in the dungeon, if they weren't as dangerous as they were. This also changes as the battle escalates, bringing even heavier guitars for the climax of the fight.
Canto III
- Although initially used for the cutscenes involving the K Corp Checkpoint, the theme used for them is more "fondly" remembered as being the menu music for Refraction Railway, setting the backdrop for the brutal difficulty waiting ahead.
- The Inqusition has two themes at first, which are appropriately menacing medieval-sounding pieces for a new and powerful foe masquerading as crusaders, while still incorporating the main theme of the game. Once you're in the town proper, these are replaced with two new themes that dial up the suspense for the raised stakes, and the probable Difficulty Spike, while Guido gets his own version rife with ominous chanting.
- The dungeon's Abnormality battle theme (which is also used by Headless Ichthys and Alleyway Watchdog) is an intensely menacing theme with plenty of bells and chanting to match the mutated horrors crawling within the halls. The theme will also evolve into heavy metal as you push the attack and force the enemy to bring out their strongest.
- As the Final Boss of Chapter 3, Kromer brings "Between Two Worlds" by Mili, an allusion to the original Demian that Kromer and Sinclair are based from. The song is split into two parts: "Realm of Light" plays in her first phase as a carol-like hymn, playing into both her themes as a religious leader worshipped by her cult, and her particular obsession with holidays. Once she goes One-Winged Angel and becomes The Dreamer of Human Wholeness, "Realm of Darkness" will play instead, dropping all pretense and descending into a frantic, visceral choral chant that shows a glimpse into her true self and the depths of her insanity. Mili's boss songs appear to relate to the Canto's respective sinner more than the boss itself, and "Realm of Light" fully describes Sinclair's backstory in the game, while the "Realm of Darkness" part references both the original book and character's future arc (as well as a bunch of other unknown details that we're yet to discover).
Canto IV
- The Technology Liberation Alliance's machines use a fittingly electronic theme that evokes the image of a rhythmic, mechanical march. It retains this slow pace even if you win, but the instrumentation changes to jack up the suspense.
- The second battle theme keeps the rhythmic beat of the first one, but dials up the speed and instrumentation to let you know that things are heating up, with the winning theme even bringing back the Limbus motif.
- The battle theme of Rosespanner Workshop and Niko is as flamboyant as they are, bringing a frantic mix of blood-pumping bass and electronica. It slows down a bit in the second part, but adds in some dubstep-like elements to keep the action going.
- Once Dongbaek manifests her Spicebush EGO and engages the Sinners for real, the music changes to a beautifully powerful orchestra theme set to a ticking clock and periodic joyous laughter - embodying her wistful longing for the past, her ideals of a new world, and her visions of peace, new discoveries, and freedom.
- Both the normal and winning themes from the dungeon are laced with mystery and longing befitting less of the battles taking place, but more of the dive into the pasts and psyches of the League of Nine.
- The first two Abnormality bosses bring a dramatic orchestral number that becomes a more somber piece as the fight progresses. The theme for the last two and some of the final encounters is just as dramatic, and picks up with a brief violin and even more suspense in the second stage.
- The theme of Dongrang, "Who Denies All", is a slow, mournful violin-and-piano piece that oozes with melancholy, matching everything that Dongrang has lost up to this point, and how he's now little more than a hollow husk endlessly consuming in hopes of being fulfilled.
- "Fly, My Wings", the Mili song of the chapter, plays for Dongrang following his rejection of Carmen and the Distortion, and the manifestation of his Farmwatch EGO as he decides to fully embrace his pride and hunger for more. It's a melancholic piano theme with lyrics that evolve over the course of the fight, depicting both Yi Sang and Dongrang's depression with the League of Nine's fall, with the second verse particular showing how Dongrang's idealism devolved into hopelessness and cynical depravity. Once Yi Sang lands the finishing blow in a cinematic cutscene, the song swells triumphantly as the lyrics change to reflect Yi Sang's growth and triumph over the entire chapter. In keeping with Mili's songs relating more to the Canto's respective sinner than the boss itself: it describes Yi Sang's backstory using puns involving his name while making references to the original story in the end of the song.
Canto V
- The Middle Finger battle theme is a high energy, aggressive techno theme with bits of Ominous Latin Chanting. The former is the sheer power the Finger exerts from such a relatively small force, while the latter indicates that you aren't beating Ricardo, you're surviving him.
- The second Abnormality battle theme for the chapter, presently exclusive to Skin Prophet, combines violins and rapid guitar solos to really sell the dread of facing off against an Eldritch Abomination cult leader.
- The track that plays when fighting Starbuck, Queequeg and Ahab herself is filled with madness and sinister chanting, painting a picture of what it most have been like under Ahab's employ on that hopeless voyage.
- "Compass", the Mili song that plays during the battle with Ahab after she manifests her GasHarpoon EGO, is an evolving theme that starts off as a quiet Heartbeat Soundtrack punctuated by whale-like squeals, before becoming a driving lyrical theme during the second phase, depicting Ishmael's growth and determination to break free from Ahab's hold on her. When Ishmael is about to land the final blow on Ahab, the music fades out into a droning interlude where she admits the faults in her obsession, before swelling into a triumphant climax once she turns her harpoon on the Pallid Whale instead, affirming her resolve to start her own journey and accept her past, finally freeing herself from Ahab and her blind obsession.
Canto VI
- The fight against Heathcliff? has an absolutely chilling boss theme; the use of an organ piano, electric guitar, violin, and Ominous Latin Chanting makes for a horrific feel. Additionally, if you listen close enough you can hear what sounds like a woman's scream during parts of the song, making it all the more terrifying.
- Heathcliff, the Heartbrokennote is an ominous mixture of organ piano, electric guitar, and Latin chanting that comes together in a heavy metal-esque sound during the fight.
- The Wild Hunt theme conveys that you truly are fighting off an endless path of enemies, having an intense, panicked theme with the use of organs and Ominous Latin Chanting.
- As if Vergilius literally crashing the party against the Wild Hunt with the return of the Leviathan main theme wasn't enough, once he manifests his E.G.O., the music changes again to become a triumphant reprise of said theme as he shows off the power of an E.G.O.-manifested Color.
- "Through Patches of Violet" is this chapter's dedicated Mili song for the final boss(es), and it's an absolutely heart-wrenching song about how untold feelings of love can lead to the destruction of the one cherish most, as well as a never-ending cycle of abuse and torment. The song is a duet between "him" and "her", and while the first fight with Erlking Heathcliff only has the incomplete "him" section as Foreshadowing, both parts alternate in the last fight to form a tragic melody as you fight both Erlking Heathcliff and Every Catherine, culminating in both voices performing a duet in the very last phase of the fight. During the ending climax of the song, both parties realize that it was the very love they held for each other that caused them to believe the other would be better off without them, but even though they've realized this it's too late to change things. It relates to our Heathcliff and Catherine as well.
Side Stories and Events
- Despite being made for a rather goofy event, Papa Bongy's battle theme from Hell's Chicken is a genuinely intense and energetic electronic theme.
- The final fight with My Form Empties in Refraction Railway: Line 1 will override the previously bombastic music with its own "theme", an eerie Drone of Dread punctuated by ringing bells and low vocals resembling Buddhist chants.
- The final fight with Sign of Roses in Refraction Railway: Line 2 is perhaps even stronger thematically than My Form Empties, which is no mean feat. The tense, upbeat, and fast-paced music from the previous Stations is replaced with "flore sicut rosa" (lit. "Bloom Like a Rose"), a jarringly slow, atmospheric piece primarily featuring an Ominous Pipe Organ and Church Bells, complete with Dramatic Wind in the background. It's fitting for an Abnormality which is one of the purest manifestations of Religious Horror in the entire franchise.
- The theme for Bamboo-Hatted Kim's boss fight is a high intensity song with heavy inspiration from traditional Korean music. The use of vocals, flutes and drumming percussion makes you feel like you're truly going up against a battle-hardened warrior, and you do not have the upper hand in the fight.
Other
- The theme used in some of the trailers and the Leviathan PV is a gorgeous symphonic piece that introduces the Leitmotif used throughout the rest of the soundtrack. It even makes a triumphant return in Canto VI, where it plays to herald Vergilius' Big Damn Heroes moment.
- The trailer and home screen have "In Hell We Live, Lament", composed by MYTH & ROID and Mili. It's a suspensful tune that oozes with esoteric mystery and dread, with mysterious yet foreboding lyrics further carried by the singers' magnificent vocal harmonies.
