With the advent of Fall of Oriath, Path of Exile now has 10 Acts worth of Awesome Music, all contributing to the atmosphere of the game.
- All of the music in the Lord's Labyrinth. See Labyrinth Exterior, Labyrinth Interior, or the climax of both, Izaro's Bossfight Music. Together, the music sells the idea of challenge, of ascending to claim the ascendancy of the empire.
- The Grand Arena. Fight your way through Daresso's memories to surpass the sword king himself! And the timing of the song often works out to hit the vocal part right when Daresso starts talking about the love of his Lady Merveil, and how she was all he fought for. It would be even more inspiring if you hadn't already murdered Merveil at this point in the story.
- The Belly of the Beast doesn't feel as epic as many of the entries on this list, but it feels tense and gross—perfectly fitting, since you're delving into the guts of a mass of flesh somehow capable of draining all of the gods' powers. The main melodic riff gets used in many songs included with Fall of Oriath, setting the Beast up as the first step of a long crusade of deicide.
- The fight music for High Templar Avarius sounds almost like a gloomy religious march, befitting of the reichy theocratic aesthetics of Oriath. You're not just fighting the High Templar: you're fighting an empire.
- Kitava's music creates the atmosphere of fighting a cannibal god for the fate of the world.
- Solaris vs. Lunaris captures the duality of the sun and moon so well, you'll wonder whether it's timed to match up with the phases. The drum beat, characteristic of all the gods, defines them as power hungry—yet this music also characterizes them as dueling sisters, instead of the militance of Innocence or the hunger of Kitava. Unfortunately, there isn't a full version of it online yet.
- The Breachlord Theme creates the sense of exploring and even invading an alien world.
- The Abyssal Depths music brings a creepy, Diablo 2-esque sense of dread to traveling the Abyss. The fact that the beat sounds like a ticking clock, combined with the overall "death"/"bone"/"necromancy" theme of the area also helps, as if the music itself is counting down your life.
- Venarius was originally used in the trailer for Synthesis, and is otherwise saved for the extremely rare Cortex boss battle against the man the song is named after - the reconstructed memory of the man who unleashed the Elder upon the world. It starts off with a small portion of the Memory Nexus theme, but soon raises up into a sweeping, majestic battle theme that perfectly accompanies the fight, which many people deem to be one of the hardest in the whole game.