The score for Dante's Inferno is undoubtedly one of the most, if not THE most chilling, tense, nerve-racking and harrowing of all soundtracks in video game history, and Take Our Word for It, that's saying something! It does an outstanding job at capturing the horrors of the both circles of Hell and the nightmarish punishments that unlucky souls must endure there. Had Dante been alive today, he would most certainly be proud of the great work and effort that was put into writing music for his work!
NOTE: On the officially released album for the soundtrack, many songs are numbered out of order from their in-game debuts, therefore, in an effort to prevent any confusion or misunderstandings, the songs will be listed here in their canon order of appearances throughout the story!
- Donasdogma Micma Decepto
lures us in to the journey we are about to undergo and providing a sense of anticipation for the challenges that await us! Heard at the very beginning, as we are introduced to the story and is later heard in the Ninth Circle of Treachery, just before the final encounter. This is also heard on the main menu to! - Dies Irae is a brief track that features an Ethereal Choir that sings the melody of the famous Gregorian Chant. Fittingly enough, this tune plays at the very beginning of the story, as Dante rests in the Dark Forest while reciting the famous first line of the original poem: "At the midpoint, on the journey of life, I found myself in a Dark Forest, for the clear path was lost."
- Battle With Adraman serves as the battle theme against Death after Dante was stabbed by The Avenger. This track is also easily recognizable for being the very first song anyone hears, when it plays during the opening credits that show the EA and Visceral Gaming logos!
- Beatrice Taken is an immersive piece that starts with a dreadful melody before transitioning to a melancholic Ethereal Choir of ladies. This plays throughout the second story cinematic, "A Soul Taken," when Dante arrives back in Florence, only to make the shocking discovery that his family home has been ransacked and his father and Beatrice have been killed!
- Dante, Casarma Treloch is an immediate follow-up to "Beatrice Taken", beginning with a choir shouting, "DANTE, CASARMA TRELOCH," and continuing to recite the words throughout with ever-increasing anxiousness! The urgency in the track is sold as Dante witnesses Beatrice taken by a dark spirit and now must defend himself against a hoard of reanimated corpses in his family's graveyard!
- Above Acheron, another case of an Ethereal Choir of ladies combined with chanting before having drums and male choirs join in at the climax. Plays when Dante enters and arrives in Hell for the very first time. Others may also recognize this track as being one of the tracks played on the main menu!
- Limbo Prisoners, a case of Ominous Latin Chanting of male vocals accompanieThe score for Dante's Inferno is undoubtedly one of the most, if not THE most chilling, tense, nerve-racking and harrowing of all soundtracks in video game history, and Take Our Word for It, that's saying something! It does an outstanding job at capturing the horrors of the both circles of Hell and the nightmarish punishments that unlucky souls must endure there. Had Dante been alive today, he would most certainly be proud of the great work and effort that was put into writing music for his work!
NOTE: On the officially released album for the soundtrack, many songs are numbered out of order from their in-game debuts, therefore, in an effort to prevent any confusion or misunderstandings, the songs will be listed here in their canon order of appearances throughout the story!
- Donasdogma Micma Decepto lures us in to the journey we are about to undergo and providing a sense of anticipation for the challenges that await us! Heard at the very beginning, as we are introduced to the story and is later heard in the Ninth Circle of Treachery, just before the final encounter. This is also heard on the main menu to!
- Dies Irae is a brief track that features an Ethereal Choir that sings the melody of the famous Gregorian Chant. Fittingly enough, this tune plays at the very beginning of the story, as Dante rests in the Dark Forest while reciting the famous first line of the original poem: "At the midpoint, on the journey of life, I found myself in a Dark Forest, for the clear path was lost."
- Battle With Adraman serves as the battle theme against Death after Dante was stabbed by The Avenger. This track is also easily recognizable for being the very first song anyone hears, when it plays during the opening credits that show the EA and Visceral Gaming logos!
- Beatrice Taken is an immersive piece that starts with a dreadful melody before transitioning to a melancholic Ethereal Choir of ladies. This plays throughout the second story cinematic, "A Soul Taken," when Dante arrives back in Florence, only to make the shocking discovery that his family home has been ransacked and his father and Beatrice have been killed!
- Dante, Casarma Treloch is an immediate follow-up to "Beatrice Taken", beginning with a choir shouting, "DANTE, CASARMA TRELOCH," and continuing to recite the words throughout with ever-increasing anxiousness! The urgency in the track is sold as Dante witnesses Beatrice taken by a dark spirit and now must defend himself against a hoard of reanimated corpses in his family's graveyard!
- Above Acheron, another case of an Ethereal Choir of ladies combined with chanting before having drums and male choirs join in at the climax. Plays when Dante enters and arrives in Hell for the very first time. Others may also recognize this track as being one of the tracks played on the main menu!
- Limbo Prisoners, a case of Ominous Latin Chanting of male vocals accompanied by the twirling sounds of what seems to be a single coin. Reminiscent of a cantata, this piece plays when Dante is exploring the interior of Charon's boat.
- Following "Limbo Prisoners", Bleeding Charon begins once Dante arrives and begins battle atop Charon's boat before arriving in Limbo proper.
- Path to Minos plays as Dante travels through Limbo and makes his way up to Minos' court. This is also is heard on the Playstation or Xbox menus whenever Dante's Inferno is highlighted.
- Minos, King Minos' personal leitmotif; the oppressive male vocals and menacing drums help to convey the authority that Minos has over the countless lost souls that are banished to Hell! One prominent feature of this piece is the frantic trumpet playing sporadically throughout the opening!
- You'll grow accustomed to hearing Arphe (The Descent) throughout your journey! It instills a sense of dread with its One-Woman Wail that conveys a sense of unknowing as to just what horrors you'll have to face next, and it plays whenever Dante begins to climb on and abseil across various ropes hanging from mountainsides as he descends from one circle to the next.
- Philopater begins when Dante enters the Second Circle of Hell, Lust, for the first time as we are introduced to the Carnal Tower erupting out of the ground far beneath the narrow path and Cleopatra herself summons the winds of lust as she menaces Dante with a roar while climbing the tower.
- Storms of Lust. Immediately after "Philopater", the sounds of a One-Woman Wail travel through the air as if imitating the very winds that whisks the lustful souls to and fro here; this piece, with the vocals combined with the instruments, wouldn't be out of place in a dramatic opera setting!
- Whores of Babylon is filled with the sounds of tormented souls of ladies wailing and screaming, perhaps out of pleasure, or agony, or both? Begins properly when the Seductresses are introduced in the Carnal Tower and is also heard as Dante ascends the tower and battles Cleopatra.
- The Second Circle draws you in with its mystery and intrigue, signifying a halfway point in Lust, just before Dante begins his ascent.
- Cerberus' leitmotif. Frantic trumpets and dissonant vocals alongside thundering drums to fittingly represent The Great Worm as Dante envisioned him.
- Ciacco the Pig provides throaty laughter and the profuse plucking of strings, this cackling cacophony is heard all throughout the Third Circle of Hell, Gluttony, and it does well to convey the utter putrid and repulsive environment that you've entered and now must wade through. This could also count as a unofficial leitmotif on Ciacco's part as well, as he is found in the middle of the circle.
- The last section of Gluttony is represented by Hall of Gluttons, a surreal piece that serves well in accompanying the Mind Screw of a series of door puzzles that Dante must solve before being able to proceed further.
- Greed Minions is driven by a vocalization akin to chanting and rhythmic hammering that matches the industrial setting of the Fourth Circle of Hell, Greed, when Dante arrives for the first time. Perhaps symbolizing how industrial factories are used to produce mass goods and even the currency that people use in everyday life, and how many foolish souls will give in to sin and do almost anything in order to obtain it.
- Excessum Alighiero begins once Dante activates a trap on a large container that quickly fills the soul contained vessel with molten gold! This bombastic track is also heard later on throughout Greed, most notably when Dante engages in battle inside Plutus' chamber; the title of the piece, named for Dante's father, Alighiero, seems to make reference to either his passing or his evident downfall at his son's hands.
- Hoarder starts off soft and slow before gradually growing in pace and magnitude with the intense strumming on an acoustic guitar that has its tone color shifted. This is first heard when Dante arrives at the rotating spike trap in the middle of Greed.
- Waster is a calm albeit eerie track, with dissonant warped sounds accompanied by rhythmic drums. This is heard in Greed after Dante manages to deal with a very cautious Beast Tamer and then narrowly escapes being crushed by a trap!
d by the twirling sounds of what seems to be a single coin. Reminiscent of a cantata, this piece plays when Dante is exploring the interior of Charon's boat.
- Following "Limbo Prisoners", Bleeding Charon begins once Dante arrives and begins battle atop Charon's boat before arriving in Limbo proper.
- Path to Minos plays as Dante travels through Limbo and makes his way up to Minos' court. This is also is heard on the Playstation or Xbox menus whenever Dante's Inferno is highlighted.
- Minos, King Minos' personal leitmotif; the oppressive male vocals and menacing drums help to convey the authority that Minos has over the countless lost souls that are banished to Hell! One prominent feature of this piece is the frantic trumpet playing sporadically throughout the opening!
- You'll grow accustomed to hearing Arphe (The Descent) throughout your journey! It instills a sense of dread with its One-Woman Wail that conveys a sense of unknowing as to just what horrors you'll have to face next, and it plays whenever Dante begins to climb on and abseil across various ropes hanging from mountainsides as he descends from one circle to the next.
- Philopater begins when Dante enters the Second Circle of Hell, Lust, for the first time as we are introduced to the Carnal Tower erupting out of the ground far beneath the narrow path and Cleopatra herself summons the winds of lust as she menaces Dante with a roar while climbing the tower.
- Storms of Lust. Immediately after "Philopater", the sounds of a One-Woman Wail travel through the air as if imitating the very winds that whisks the lustful souls to and fro here; this piece, with the vocals combined with the instruments, wouldn't be out of place in a dramatic opera setting!
- Whores of Babylon is filled with the sounds of tormented souls of ladies wailing and screaming, perhaps out of pleasure, or agony, or both? Begins properly when the Seductresses are introduced in the Carnal Tower and is also heard as Dante ascends the tower and battles Cleopatra.
- The Second Circle draws you in with its mystery and intrigue, signifying a halfway point in Lust, just before Dante begins his ascent.
- Cerberus' leitmotif. Frantic trumpets and dissonant vocals alongside thundering drums to fittingly represent The Great Worm as Dante envisioned him.
- Ciacco the Pig provides throaty laughter and the profuse plucking of strings, this cackling cacophony is heard all throughout the Third Circle of Hell, Gluttony, and it does well to convey the utter putrid and repulsive environment that you've entered and now must wade through. This could also count as a unofficial leitmotif on Ciacco's part as well, as he is found in the middle of the circle.
- The last section of Gluttony is represented by Hall of Gluttons, a surreal piece that serves well in accompanying the Mind Screw of a series of door puzzles that Dante must solve before being able to proceed further.
- Greed Minions is driven by a vocalization akin to chanting and rhythmic hammering that matches the industrial setting of the Fourth Circle of Hell, Greed, when Dante arrives for the first time. Perhaps symbolizing how industrial factories are used to produce mass goods and even the currency that people use in everyday life, and how many foolish souls will give in to sin and do almost anything in order to obtain it.
- Excessum Alighiero begins once Dante activates a trap on a large container that quickly fills the soul contained vessel with molten gold! This bombastic track is also heard later on throughout Greed, most notably when Dante engages in battle inside Plutus' chamber; the title of the piece, named for Dante's father, Alighiero, seems to make reference to either his passing or his evident downfall at his son's hands.
- Hoarder starts off soft and slow before gradually growing in pace and magnitude with the intense strumming on an acoustic guitar that has its tone color shifted. This is first heard when Dante arrives at the rotating spike trap in the middle of Greed.
- Waster is a calm albeit eerie track, with dissonant warped sounds accompanied by rhythmic drums. This is heard in Greed after Dante manages to deal with a very cautious Beast Tamer and then narrowly escapes being crushed by a trap!
