{"id":7365,"date":"2019-11-06T14:07:09","date_gmt":"2019-11-06T19:07:09","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=7365"},"modified":"2026-01-14T15:36:25","modified_gmt":"2026-01-14T20:36:25","slug":"top-20-video-game-soundtracks","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/top-20-video-game-soundtracks\/","title":{"rendered":"The top 20 video game soundtracks of all time"},"content":{"rendered":"

Video game soundtracks can touch us in ways that leave them playing in our minds and hearts, long after we save and quit.<\/h2>\n

Video games are a special medium in how they allow us to escape reality and explore alternate selves, worlds, and realities. Often times, their music plays a critical role in emotionally immersing us in the virtual universes we’re visiting; in fact, good video game soundtracks allow us to forget, for a moment, that we aren’t actually experiencing what’s unfolding on the screen.<\/p>\n

When a game synergizes with its soundtrack to provide us an emotional, meaningful, or just genuinely fun experience, we associate the music that was playing in that moment with that magic. As a result, video game soundtracks regularly achieve the same degree of popularity and adoration as the beloved titles that they belong to (and many also stand their own as amazing collections of music, regardless of their association with a particular game).<\/p>\n

A few of us at Splice recently came together to attempt to identify the top 20 video game soundtracks of all time, including everything from the classics to some deeper cuts. We held ourselves to a maximum of one entry per franchise to keep the list diverse, and because ranking them would actually be impossible (picking them was hard enough), we’ve arranged the games in chronological order.<\/p>\n

Tetris <\/em>(1989)<\/h2>\n

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Though the franchise itself had already been around for five years, Tetris<\/em>\u2019 Game Boy release in 1989 was the first to contain \u201cType A,\u201d a song that single-handedly puts the puzzle game on this list. \u201cType A\u201d is the track that\u2019s widely recognized as Tetris<\/em>\u2019 main theme; some may be surprised to know it\u2019s actually a rendition of \u201cKorobeiniki,\u201d a nineteenth-century Russian folk song. Love it or hate it, the simple tune has played a key role in shaping the larger culture of video game music \u2014 and thanks to newer releases like Tetris 99,<\/em>\u00a0<\/em>continues to be an earworm for countless players today.<\/p>\n

Super Mario 64<\/em> (1996)<\/h2>\n

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While Super Mario Bros.<\/em> may take the cake for having the single most influential video game soundtrack of all time, Super Mario 64<\/em> is another\u00a0Mario<\/em> game with a (much larger) collection of music that has defined the childhoods of countless players. Spirited orchestrated interpretations of the franchise\u2019s most popular themes were composed by Koji Kondo, as well as all-new standouts including the elegant \u201cInside the Castle Walls\u201d and the dreamy \u201cDire, Dire Docks.\u201d Super Mario 64<\/em> is the Nintendo 64\u2019s best-selling title and is revered as one of the greatest video games of all time, and Kondo\u2019s music undoubtedly played an imperative part in bringing its awe-inspiring 3D world to life.<\/p>\n

Final Fantasy VII <\/em>(1997)<\/h2>\n

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It would be impossible to discuss the best of video game music without celebrating the work of Nobuo Uematsu. His compositions for Final Fantasy VII<\/em> (and numerous other games in the series) have been loved and celebrated for over two decades straight, experiencing multiple releases and re-imaginations. It wouldn\u2019t be an overstatement to say that pieces such as the pastoral main theme and the \u201cThe Rite of Spring\u201d-inspired \u201cOne-Winged Angel\u201d played a critical role in establishing video game music as a medium that\u2019s as equally legitimate as film and absolute music. The upcoming 2020 remake of Final Fantasy VII<\/em> has many of us excited, and it\u2019ll be interesting to see how the latest rendition of Uematsu\u2019s timeless score is incorporated into the game.<\/p>\n

Legend of Zelda: Ocarina of Time<\/em> (1998)<\/h2>\n

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Ocarina of Time<\/em> inspires wonder from the moment it\u2019s booted up, with its gentle title theme and the imagery of Epona galloping through Hyrule Field hinting at the expansive scope of the game. This fifth installment to The<\/em> Legend of Zelda<\/em> series was revolutionary in many ways, and its bold re-imagined approach to the franchise was reflected in Koji Kondo\u2019s score; he abandoned the iconic main theme<\/a> for the first time, replacing it with the equally epic \u201cHyrule Field\u201d theme.<\/p>\n

Ocarina of Time<\/em> was also innovative in how it made the player an active participant of its music \u2014 Link\u2019s ocarina plays a key role in progressing the game\u2019s story, and the player is tasked to learn how to perform 12 unique melodies on it. Interestingly, in order to work with the Nintendo 64 controller\u2019s finite number of buttons, each theme was centered around just five notes. Though Kondo recalls this as a major creative challenge, the resulting songs are all distinct and beautiful, including absolute classics such as \u201cZelda\u2019s Lullaby,\u201d \u201cSaria\u2019s Song,\u201d and \u201cSong of Storms.\u201d The score is the final Zelda<\/em> soundtrack that was fully composed by Kondo, and while subsequent releases are also well-deserving of being on this list, Ocarina of Time<\/em> is a series and cultural staple that can\u2019t be overlooked.<\/p>\n

Jet Set Radio<\/em> (2000)<\/h2>\n

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With a soundtrack as ambitious as its design, Jet Set Radio<\/em> is packed with hyper-detailed tracks that boast a very distinct attitude. Its blend of techno, hip hop, and J-rock makes for a blistering soundtrack that feels as iconic as the game’s art direction. Although the soundtrack features a variety of genres, the true heart of Jet Set Radio<\/em> is Hideki Naganuma\u2019s frantic anthems that flip nonsensical samples, funky guitar and bass loops, and drum and bass<\/a> percussion into pure 160 BPM bliss. In a way, his songs forecasted the mashup boom that came not long after Jet Set Radio<\/em> was released, but without the cringe-factor. The songs capture the vibrant feeling of the game\u2019s world, characters, and art style to a near-perfect degree, providing the perfect soundtrack to paint the town red, orange, purple, and whatever other color your heart desired.<\/p>\n

Sonic Adventure 2<\/em> (2001)<\/h2>\n

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Sonic Adventure 2<\/em> is a time capsule of a bizarre time in video games. Perhaps the final marquee release on the Dreamcast, Sonic Adventure 2<\/em> signaled the end of an era that embraced the weird, the wild, and the unorthodox in gaming and gaming technology, in place of the modern era of the console wars and AAA franchises. While there are varying opinions on how the game has aged since its release in 2001, one thing that’s undeniable is the game\u2019s soundtrack. Sonic Adventure 2<\/em> features six playable characters, and the soundtrack sonically reflects the variety, covering genres like bossanova, rap, pop-punk, techno, bubblegum pop, nu-metal, drum and bass, and even classical.<\/p>\n

Music supervisor Jun Senoue didn\u2019t want his soundtrack to feel like background music, so he made sure that the songs could stand on their own as great pieces of music while still supporting the gameplay and themes of the story. \u201cLive and Learn\u201d and \u201cEscape from the City\u201d are obvious standouts and are absolutely still stuck in your head if you played these games back in the day. That said, deep cuts like \u201cBelieve in Myself\u201d and \u201cFly in the Freedom\u201d shouldn’t be overlooked either. Every song, regardless of the overwhelming camp factor on a few of them, feels urgent, fun, and unique to every character and stage, and the unlikely harmony between genres earns Sonic Adventure 2<\/em> a spot on our list.<\/p>\n

Pok\u00e9mon Ruby and Sapphire<\/em> (2002)<\/h2>\n

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Released for the Game Boy Advance, Pok\u00e9mon Ruby and Sapphire<\/em> were the first main-series Pok\u00e9mon games that departed from 8-bit audio and entered the world of 16-bit orchestration. The soundtrack took full advantage of this evolution, conveying the joys and perils of adventure with colorful arrangements, upbeat rhythms, and a lot<\/em> of horns.<\/p>\n

The scope of the game\u2019s plot also expanded massively compared to previous generations, going from Gold<\/em>, Silver<\/em>, and Crystal<\/em>\u2019s primary storyline of becoming a Pok\u00e9mon master (while stopping Team Rocket\u2019s mischief on your way) to saving the world from ancient beasts that threaten the balance of nature and all life on earth. The music reflects this change, with the pounding timpani of \u201cBattle! (Super-Ancient Pok\u00e9mon),\u201d the celestial harp arpeggios of \u201cCave of Origin,\u201d and the delightfully lengthy \u201cEnding Theme\u201d reinforcing the larger-than-life character of Ruby and Sapphire<\/em>. The games made their mark in history as the best-selling releases on the Game Boy Advance, and their music lives up to the title without a doubt.<\/p>\n

Katamari Damacy<\/em> (2004)<\/h2>\n

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By this point, it has been well established how wacky, weird, and just plain mind-boggling the Katamari<\/em> series is. Yet, for all its quirks, it\u2019s important to acknowledge that this game has some flat-out gorgeous music. Yes, there are the out-there ballads about rolling up your lover into a star, but as a whole, the songs in the first game of the series are stunning in their complexity and distinct character. The melodies are infectious and will stay with you forever, from the legendary main theme to the stunning \u201cCherry Tree Times\u201d (lead composer Yu Miyake claimed that it was his favorite in the franchise<\/a>). Every song is full of pop melodies, glittering instrumentation, angelic vocals, and a healthy amount of happy-go-lucky. It\u2019s the perfect soundtrack to roll up cats, dogs, humans, skyscrapers, and every last thing in between for hours on end. It has one of the most unique and beautiful soundtracks in the history of gaming without a doubt.<\/p>\n

Kingdom Hearts II<\/em> (2005)<\/h2>\n

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One could make the argument that Kingdom Hearts<\/em> simply wouldn\u2019t work without Yoko Shimomura. On its surface, it’s quite a difficult brief for a composer. Scoring one of the very few gaming franchises that actually follows a (somewhat) linear story across years, consoles, gameplay styles, and characters, Yoko Shimomura\u2019s compositions do a tremendous amount of work to anchor the series in spite of its wacky plot holes and, at times, goofy writing. From \u201cDearly Beloved\u201d to iconic battle themes like \u201cThe 13th Struggle\u201d to her reworks of Disney classics, every song in Kingdom Hearts II<\/em> is masterful, capturing the story’s sweeping and massive scale. Yet, the primary reason why Kingdom Hearts II<\/em> won out over the numerous other titles in the series is \u201cSanctuary.\u201d Utada Hikaru\u2019s theme song for the game is not only a perfect pop song, but it also seamlessly weaves in themes from the game like growing up, loss, and identity into the fiber of the track.<\/p>\n

The World Ends With You<\/em> (2007)<\/h2>\n

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The World Ends With You<\/em> is a vibrant and highly-original JRPG helmed by Square Enix auteur, Testuya Nomura. Set in modern Shibuya, its gameplay style, narrative, and art direction are distinct and imaginative, building out a robust world full of detail. Every district in the game has its own musical themes, visual aesthetic, and fashion trends, and its music reflects that depth and variety. Composer Takeharu Ishimoto helmed the eclectic soundtrack, capturing a variety of genres while still injecting his own spin on all of them. What makes this soundtrack special is how well it reinterprets modern popular music for its own universe. The World Ends With You<\/em>\u2019s Shibuya has such a vibrant feel to it, and the way Ishimoto crafts music that reflects the real world while still maintaining the distinct art direction of the game is a wonderful balancing act. Everything sounds just enough like pop music that could be heard in the streets of Tokyo, yet every song unmistakably belongs to the game’s universe.<\/p>\n

Team Fortress 2<\/em> (2007)<\/h2>\n

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The Team Fortress 2<\/em> soundtrack is a perfect fit for the quirky military shooter. The score, composed by Mike Morasky and performed by the Valve Studio Orchestra, features a blend of big band horns reminiscent of Americana spy movies and driving drums that sound like they’re performed by a military marching band. The main theme uses the sound of a ticking clock to establish a groove that’s marked by tension and competitiveness, which are feelings that are also very effectively captured by the rest of the score. For example, \u201cPlaying with Danger,\u201d another standout on the soundtrack, makes prominent use of a restless snare pattern, and its ascending half step motif communicates a sense of peril without taking itself too seriously. Though not as iconic as some of the other titles on this list, Team Fortress 2\u00a0<\/em>gets a spot for its ability to convey danger while still keeping things fun.<\/p>\n

Ni no Kuni: Wrath of the White Witch<\/em> (2011)<\/h2>\n

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The gaming community\u2019s excitement and expectations skyrocketed when they first heard that LEVEL-5\u2019s Ni no Kuni<\/em> would feature animated sequences by Studio Ghibli and music from the renowned Joe Hisaishi \u2014 and they weren\u2019t disappointed. Hisaishi brought the same degree of attention and spirit to Ni no Kuni<\/em>\u2019s soundtrack as he did to the most popular Ghibli films; the main theme, \u201cKokoro No Kakera,\u201d and \u201cMiracle – Reunion\u201d are particularly breathtaking, but there\u2019s honestly not a single forgettable moment in the entire score. Stirring performances by the Tokyo Philharmonic Orchestra bring Hisaishi\u2019s music to life and make it transcend anything you would expect on a Nintendo DS (Wrath of the White Witch<\/em> was released on the Playstation 3 less than a year after Dominion of the Dark Djinn<\/em>, its original DS counterpart). Ni no Kuni: Wrath of the White Witch<\/em> recently experienced a re-release on the Nintendo Switch, so there\u2019s truly no excuse to not play it.<\/p>\n

Monument Valley<\/em> (2014)<\/h2>\n

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Monument Valley<\/em> is a serene, peaceful, and meditative gaming experience, and its soundtrack reinforces these themes impeccably. Composed by Stafford Bawler, Obfusc, and Grigori, it\u2019s hard to call out a specific track that shines brighter than the rest, but that\u2019s a testament to how cohesive the soundtrack is. Each piece acts as background music to your journey, driving you forward without making you feel stressed out about getting stuck on a puzzle. Throughout the game, the soundtrack maintains a distinct point of view with lush and spacious sounds that perfectly match the dreamy feeling the gameplay evokes. The songs feel heavily indebted to the IDM genre, with pieces like \u201cOceanic Glow\u201d that wouldn\u2019t feel out of place on an Aphex Twin or Boards of Canada record. Monument Valley<\/em> establishes a tone and sticks to it incredibly well, creating a cohesive and wondrous sonic experience that works in tandem with the gameplay.<\/p>\n

Shovel Knight<\/em> (2014)<\/h2>\n

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Shovel Knight<\/em> is an acclaimed 2D side-scrolling platformer with a score by none other than Jake Kaufman. While the soundtrack (and the game at large) is an homage to the 8-bit era, it\u2019s just as innovative as it is nostalgic. Rather than letting 8-bit music’s inherent limitations in sound design and orchestration be a hindrance, Kaufman uses them to spotlight his ingenious compositional chops. The score is full of creative counterpoint and harmonic surprises that will intrigue any veteran composer, while maintaining an accessible and authentic emotional through line that will resonate with any non-musician. For a contrasting but equally delightful side of Kaufman\u2019s music, check out his fully-orchestrated and irresistibly groovy score for Shantae and the Pirate\u2019s Curse<\/em>.<\/p>\n

Fire Emblem Fates<\/em> (2015)<\/h2>\n

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Consisting of Fire Emblem Birthright<\/em>, Conquest<\/em>, and later, Revelation<\/em>, Fire Emblem Fates<\/em> is an artfully constructed game that navigates themes such as family, destiny, and choice. In Fates<\/em>, the player must choose between fighting alongside their blood and adoptive kingdoms, Hoshido and Nohr. The two kingdoms are inspired by real-world cultures, and the soundtrack is critical in telling this story; the Japan-inspired Hoshido is scored by elegant music that\u2019s reminiscent of gagaku<\/em> (Japanese Imperial Court music that features instruments such as the shakuhachi, sho, koto, and ryuuteki), while the medieval Europe-inspired Nohr is scored by galvanizing tunes that are reminiscent of celtic music (featuring instruments such as the vielle, uilleann pipes, and bagpipes).<\/p>\n

While all of the instrumental compositions are nothing short of inspiring, the standout piece in the soundtrack is without a doubt \u201cIf~ Hitori Omou\u201d (or the translated \u201cLost Thoughts All Alone\u201d in western releases). The song is closely intertwined with Fates<\/em>‘ plot, and vocalist Renka\u2019s performance is incredibly beautiful, so much so that several of the game\u2019s developers reportedly cried when they heard her audition.<\/a><\/p>\n

Undertale<\/em> (2015)<\/h2>\n

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It\u2019s hard to believe that the mega-successful Undertale<\/em> was created pretty much entirely by one person; indie developer Toby Fox is the game\u2019s programmer, designer, writer, and composer. Despite this, it doesn\u2019t seem that he took any shortcuts with the score. While it doesn\u2019t boast full orchestrations or polished production, the soundtrack carefully weaves thoughtful motifs and memorable melodies throughout its compositions that make you laugh at times and tug on your heartstrings at others. Some standout songs include \u201cHeartache,\u201d \u201cHopes and Dreams,\u201d \u201cSnowy,\u201d and of course, everyone\u2019s favorite \u201cMEGALOVANIA.\u201d<\/p>\n

Persona 5<\/em> (2016)<\/h2>\n

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There are countless games out there where the aesthetics outshine the gameplay, or vice versa. That said, Atlus\u2019 Persona 5<\/em> is one of those rare titles that\u2019s truly outstanding in both departments. Its immersive 100+ hour campaign combines RPG and social simulation mechanics in a fresh and novel way, while its impeccable art style (famous for having the best UI \/ menus of any game ever made) and distinctive music help create a world that\u2019s simultaneously cool and electrifying.<\/p>\n

The soundtrack, spearheaded by series sound director Shoji Meguro, features an eccentric hybrid of acid jazz and heavy rock. A few of its most adored tracks, including \u201cLast Surprise,\u201d \u201cWake Up, Get Up, Get Out There,\u201d and \u201cBeneath the Mask,\u201d are topped off by Lyn Inaizumi\u2019s soulful vocals. Do yourself a favor and go listen to this soundtrack. Preferably while playing the game.<\/p>\n

NieR: Automata<\/em> (2017)<\/h2>\n

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NieR: Automata<\/em> brought Keiichi Okabe back to the acclaimed franchise as the lead composer, and offers hours upon hours of breathtaking music. The music draws players into the game\u2019s post-apocalyptic world with haunting arrangements primarily driven by strings, piano, percussion, and vocals. A distinguishing element of the soundtrack is its mesmerizing fictional language, showcased by vocalist Emi Evans on songs such as \u201cSong of the Ancients (Atonement),\u201d \u201cVague Hope (Cold Rain),\u201d and \u201cEmil (Despair).\u201d This score truly has no weak points; its compositions are original, its production is world-class, and its emotional fit with the game is superb. And if you don\u2019t take our word for how amazing NieR: Automata<\/em>\u2019s soundtrack is, it also won \u201cBest Score\/Music\u201d at The Game Awards 2017.<\/p>\n

Hollow Knight<\/em> (2017)<\/h2>\n

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Hollow Knight<\/em> is a Metroidvania game with a score composed by Christopher Larkin. While many games in the genre employ theatrical arrangements and melodies, Larkin opts for subtlety, primarily relying on ostinatos and restrained melodies performed by piano and strings. However, in a similar spirit to the gameplay, there\u2019s a lot going on beneath the surface of his ostensibly simple soundtrack \u2014 leitmotifs weave together recurring themes in the story, crescendoing to a particularly thoughtful and gripping accompaniment for the final battles. If you\u2019re into cathartic experiences that are a blend of deeply saddening and uplifting, then Hollow Knight<\/em> and its soundtrack are definitely for you.<\/p>\n

CRYSTAR<\/em> (2018)<\/h2>\n

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Compared to the other titles on this list, CRYSTAR<\/em> may be a game that\u2019s unfamiliar to many \u2014 which is unfortunate, because its music deserves a lot more attention than it gets. Composed by Japanese music producer Sakuzyo, the score juxtaposes lush orchestral arrangements with gritty percussion and industrial fx. The result is a chilling soundtrack that\u2019s both adrenaline-infused and melancholy, often times in the same moment. And best of all, the score is available to be streamed in full on Spotify.<\/p>\n

Honorable mentions<\/h2>\n

Though our list focused on the greatest original soundtracks in video game history, as an afterthought we wanted to highlight five franchises that have demonstrated an incredible ear for compilation soundtracks. Each of these series have had their own outsized impact on the close relationship between video games and music.<\/p>\n

1. FIFA<\/em><\/strong><\/p>\n

Since the series began licensing popular music with FIFA: Road to World Cup 98<\/em>, FIFA<\/em> has featured an extensive list of iconic tracks from around the globe, reflecting the colorful variety of the world\u2019s game.<\/p>\n

2. Tony Hawk’s<\/em><\/strong><\/p>\n

The music of the Tony Hawk’s<\/em>\u00a0franchise perfectly captured the American-ness of skateboarding through its iconic mix of punk rock and hip hop.<\/p>\n

3. Dance Dance Revolution<\/em><\/strong><\/p>\n

With its first release in 1998, the Dance Dance Revolution<\/em> series not only set the standard for the addictive rhythm game genre, but also masterfully compiled soundtracks that made you want to, well, dance. Every game is full of absolutely nutty original songs, remixes, and covers, spanning everything from funk to happy hardcore.<\/p>\n

4. Need for Speed<\/em><\/strong><\/p>\n

In any game where driving is central to the gameplay, you need to have a soundtrack that people can bump on repeat for hours \u2014 and the longstanding Need for Speed<\/em> series understood this perfectly.<\/p>\n

5. Grand Theft Auto<\/em><\/strong><\/p>\n

Music has historically played a key role in the Grand Theft Auto<\/em> series. From its early days when in-house producers would create stations of parody tracks to its present day iterations that feature curation from the likes of Frank Ocean and Flying Lotus, GTA<\/em> has always made sure that its various radio stations are always full of varied sounds.<\/p>\n

At the end of the day, there are countless excellent video game soundtracks that we couldn’t fit onto this list. Did we miss you favorite game? Is there an entry on the list that you resonate particularly strongly with? Let us know in the comments below.<\/p>\n\n\n

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Explore royalty-free sounds from leading artists, producers, and sound designers:<\/p>\n\n\n\n

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