Angelic Highs and Demonic Lows Meet for a Monumental Journey, 10.0 out of 10 based on 2 ratings

Despite the overwhelming number of games with strong personalities in the medium, I can think of few games quite as over-the-top as Bayonetta. No matter what the situation, the game always manages to feel impressive and that grandeur extends to practically every aspect of the experience. Naturally, the music is no exception to that rule and the result is one of the most definitively epic soundtracks to grace gaming.

Although Bayonetta’s soundtrack is rather grandiose, that’s not to say that every track follows that overall tone. The game also has a strong tongue-in-cheek nature about a great many events to counterbalance the awesome, but patently ridiculous feats that Bayonetta manages to pull off multiple times in every chapter. As such, much of the repeated theme usage varies between a few vocal pop tracks that match the lack of seriousness, such as the above-shown “Fly Me to the Moon (Climax Mix)” and the equally-utilized “Theme of Bayonetta – Mysterious Destiny.” The pop tracks may not be the only songs to evoke this overall feeling, but they are the most distinct and recognizable at doing just that.

It may seem that using such comparatively flighty music to the epic events that occur would be counterproductive, but it instead manages to give a dynamic sense to the soundtrack. The songs used have to cover both of the distinct moods at play in Bayonetta, and still sound as though they belong together; a feat the designers accomplished admirably. For example, after fighting one of the numerous boss enemies to “Climactic Battle,” the far more lighthearted “Let’s Hit the Climax!” begins to play upon using the finisher commands, giving a clean sense of how Bayonetta is now in total control of the situation. This kind of musical framing can be found throughout the game and is always used well.

Of course, that light tonal quality only extends so far in a game so clearly highlighting religious themes. The vast majority of the music makes use of flowing choirs and sweeping orchestrals to properly fit the conflict between the angels of Paradiso and the infernal demons of Inferno, or, more specifically in the story of Bayonetta, the Lumen Sages and Umbra Witches respectively. Those two instrumental choices pervade the majority of the soundtrack in a successful attempt to both grant practically every sacred area a sense of majesty and mysticism, and grant every major battle a sense of galactic importance.

No matter the context or situation, nearly every track is tailored perfectly to where and when it plays in the story. Be it a heavy organ track used in the idyllic and beautiful Paradiso or a frantic piano and god choir piece to fit the battle with the clear villain of the story, Bayonetta always manages to convey the aforementioned grandeur that the environments and encounters constantly evoke.

Bayonetta has one of the longer OSTs I’ve seen throughout video gaming and, as a logical result, it’s impossible to talk about every single song on the soundtrack. Still, there are certain hitherto unmentioned songs I feel the need to recognize. The theme for the lower floors of the Ithavoll Building, one of the final areas of the game, combines some light choir with a purposeful-sounding track that really conveys the finality of the location and how close it has come to the end. Another favorite of mine is the song used in the battle with the last of the Cardinal Virtue bosses, Sapientia. The alternating backbeat gives the battle a real sense of weight while the accompanying piano and choir a fittingly angelic quality, despite the overall appearance of the angels in Bayonetta. However, my absolute favorite is “The Greatest Jubilee,” used for the final boss. I don’t think I’ve ever heard a more grandiose song in any video game and it couldn’t be more fitting considering the boss in question. The organ, piano, and voicework of the song are truly something to behold and I really can’t add anything beyond saying that it more than worth a listen.

While I will gladly enjoy more traditional music and tried-and-true styles, there is always something to be said for something that manages to impress in a very different way than normal. Bayonetta has a selection of music that, to me at least, comes together to form a soundtrack that doesn’t quite sound like anything else. From the more lighthearted fair to the truly epic tracks that accompany the more impressive moments, Bayonetta’s music never fails to impress and I would more than recommend that everyone who appreciates good music gives the soundtrack a listen, especially orchestration fans. Just expect to be sitting there for a fair amount of time.

Music Mondays is a weekly column by Austin Yorski and Robert Heck dedicated to discussing the most interesting audio experiences in electronic interactive media. Tune in every week for more original game soundtracks that you need to hear. Feel free to disagree with, add to, or question everything. I welcome your feedback.