Awesome Music / God of War

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The original trilogy

• The first game has Zeus' Wrath Divine, which plays a couple times during the game but is best known for being the epic, emotional track when Kratos is defending his family. The song is so good, it gets a remade version in God of War 3 entitled Brothers of Blood which plays during the fight against Zeus.
• Minotaur Boss Battle is arguably the most aggressive boss music in the first game which totally sells the danger presented by Pandora's Guardian and simultaneously hypes you up to whoop that bovine tin-can's ass.

• The III soundtrack also has its fair share of gems, including:
  • God of War III Overture, a powerful and foreboding medley of various themes from the main trilogy. The transitions from "Rage of Sparta", to "The End Begins", to "The Vengeful Spartan", and then back to "Rage of Sparta" are flawless. It also helps that this song plays over a visually-stunning animated intro that recaps the evens of God of War and God of War II.
  • Poseidon's Wrath plays during Poseidon's boss battle, and any time a god dies and delivers a catastrophic apocalypse to the world.
  • Rage of Sparta, a portent of doom for whatever unlucky Olympian happens to be at Kratos's mercy.
  • Ghost Zeus's theme is amazing in that it incorporates both the themes from God of War and God of War II as Kratos finishes off Fear!Zeus and then finishing him off with a beatdown almost unheard of in God of War up to that point.

• Isle of Creation is downright beautiful. It starts off epic enough, even adding a snippet of what would soon become Zeus' boss theme in III. And then, two minutes in, it becomes absolutely amazing. It's a perfectly fitting song for a final confrontation against God himself.
• "The End Begins" is a booming orchestral theme for Kratos's march on Olympus, complete with ominous Greek chanting that has a lot of relevance to the main themes of the the series.
  To Télos Archízei!
  To Télos Archízei!
  To Télos Archízei!
  To Télos Archízei Tóra!^note The end begins! The end begins! The end begins! The end begins now!
• Battle in the Bog is genuinely evil, demonic, and downright frightening to hear. Imagining The Berserker slaughtering anyone who gets in his way like a psychopathic murderer while screaming like a rampaging beast! It also helps that its Ominous Greek Chanting matches the atmosphere of the song.
• God of War: Blood and Metal, a heavy metal soundtrack EP/homage inspired by the series that was released as a digital download for III. Featuring six different bands from Roadrunner Records (seven counting the Ultimate Edition), it's a half hour of awesome, adrenaline-pumping heavy metal that perfectly fits the series' brutal nature. Special mentions include "My Obsession" by Killswitch Engage, which balances a crushing intensity with a surprisingly melodic side and lyrics that fit Kratos' tragic background, and the instrumental "Raw Dog" by Dream Theater, a heavy yet atmospheric track with a hard hitting mixture of keyboards, guitars and drums.
• Phoenix Rising is a fittingly powerful, yet beautiful track that plays during Kratos' flight to the Temple of the Fates. The first three-fourths of the song capture the otherworldly beauty of a phoenix, while at the same time, conveying the intensity of its flight towards the temple. Then, a snippet from Zeus' Wrath Divine kicks in, and the song almost begins to sound desperate, as if it suddenly remembered that the future of Greece is at stake and Kratos is about to take on all-powerful Sisters of Fate.

God of War (PS4)

• The main theme accompanying the beginning of Sony's 2016 E3 press conference. With a full orchestra (conducted by composer Bear McCreary) and Ominous Nordic Chanting, it sets the tone not just for the God of War (PS4) demo that it introduced, but for the entire press conference.
• The main theme proper, "God of War," sets much of the mood for the game. The song is describing that of Kratos, an exiled demigod from his lands, now having to be a single-parent of raising his young son Atreus after the death of his second wife Faye. The translated lyrics also describes Kratos' worries of being a better albeit stern father, his own self-hatred towards his divine parentage and history, and believing that he's not likely of ever having a happy ending.
• "Ashes" is one of most emotional and impactful tracks in the series, mainly due to how it was use for Faye's funeral, something that hurts both Kratos and Atreus. This song would later make its return during the final moments between Kratos and Faye in God of War Ragnarok.
• "Lullaby of the Giants", with its choir of Ominous Nordic Chanting and use of bells, fits the Norse atmosphere of God of War (PS4) to a 'T'.
• "Memories of Mother" sounds like a lullaby Faye would've sang to Atreus before her passing, that of a soothing and gentle love, but it also includes the melancholy that father and son feels missing her throughout their journey.
• "Magni and Modi", as the title suggests, plays when Kratos, Atreus, and Mimir face off the sons of Thor. It starts off slow, but quickly becomes upbeat and dramatic, much like the fight itself.
• "The Dragon" plays when the encounter with Hræzlyr at the mountain, and later against the encounters with Fafnir, Reginn, and Otir. Translating the lyrics actually reveal that the burly chanting is describing the fight as it happens!
• "Deliverance" plays after Baldur kidnaps Atreus and Kratos pursues him on the back of the dragon. A little over two minutes in, after Baldur ditches the dragon and tries to escape through Tyr's temple, it really kicks off with the beat quickening as Kratos races down Tyr's bridge to stop Baldur.
• "Valkyries", as the name suggests, plays when you fight the valkyrie bosses. It starts off rather melodic and peaceful, but it soons picks up as you begin the fight and provides a truly epic orchestral theme.

God of War Ragnarök

• The main theme, "God of War Ragnarök," returns with that familiar heavy feeling akin to the weight of Fimbulwinter and a bound fate, yet it blends in part of "Memories of Mother", suggesting a bit at Faye's ties with her family, and the march towards the inevitability of Ragnarok.
• "The Hammer of Thor" plays during Kratos's first fight with Thor. It bears some similarities to his sons' theme back in the previous game, but with a much more simple, yet intimidating beat that fits for the God of Thunder himself.
• "A Son's Path," Atreus' leitmotif, is adventurous but sometimes chaotic, quite fitting for the lad.
• "Raeb's Lament" plays during Brokk's funeral sequence post-game, a much sadder version of "Huldra Brothers" that shows the separation of Brokk and Sindri, of how broken Sindri has become due to Brokk truly dying.
• "Ragnarök", a somber yet epic piece that plays both as the background music for the titular final battle, and during the climax of the scene with the Norns.
• "Letting Go," the ending suite, culminates in the Triumphant Reprise of Kratos' theme, so that what was once grim and solemn is finally hopeful and peaceful.
• "Blood Upon the Snow," as sung by Hozier that plays during the actual ending credits, is almost a musical telling of not just what Kratos (the "bear") and Atreus (the "wolf") went through both physically and emotionally throughout Ragnarok, but also their companions during Fimbulwinter. The inclusion of the main theme's leitmotif towards the climax of the song adds a sense of the burdens Kratos and company had gone through.
• "Master Thyself" from the Valhalla expansion brings back the classic God of War theme with (appropriately) a vengeance when Kratos reaches his recollection of Greece.
• The All-Father plays during the final battle with Odin. The track starts out with booming horns and a choir, but as the fight goes on and the tide turns against Odin, they subside in favor of frantic-sounding strings. When Kratos, Atreus, and Freya all start beating the crap out of Odin, a rising choir kicks in, and it's all punctuated with a triumphant rendition of Kratos' leitmotif.

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