2025 was a stellar year for video games, and consequently, also a stellar year for video game music. These aren’t official Game Informer awards for the best music of the year (though we did award South of Midnight best original score), but rather an opportunity for us as a staff to point to some of the tracks that stood out to us this year. Check out some of our picks below.
From Alex Van Aken
One of my favorite video game composers, Sam Webster (Grindstone, Reigns: Beyond), teamed up with developer Furcula to tackle the soundtrack and sound design for Morsels. The weird-as-hell creature collecting roguelike is brimming with trippy visuals, and Webster’s recognizable sample-heavy sound makes for an excellent pairing. Put on a nice pair of headphones and immerse yourself in the lush synths, distorted bass lines, and saturated drum machines that define Webster’s signature style.
From Wesley LeBlanc
The entire score of South of Midnight is incredible, a fantastic facet of my favorite game of 2025. The way composer Olivier Deriviere mixes authentic Southern instruments with lyrical storytelling creates a soundscape that lifts the rest of this heartfelt, folktale-infused adventure. No track demonstrates that more than The Tale of Two-Toed Tom. Enjoy!
I love Assassin’s Creed Shadows – it’s my favorite game set in feudal Japan of the year, actually. I have always loved the scores of Assassin’s Creed, too, as they tend to remix themes and motifs I already love to fit the era of the historical fantasy in which each entry takes place. But The Flight’s take on Assassin’s Creed music genuinely surprised me – instead of defaulting to familiar melodies played on Japanese instruments, this musical duo mixed modern 808s and production with all sorts of classical Japanese instruments. The result is the most unique-sounding Assassin’s Creed score to date.
Kingdom Come: Deliverance II is one of the best games of the year (and my personal number 2, right behind South of Midnight). Its score is one of the reasons why. It sounds fantastical but medieval, hopeful but mysterious, and ultimately, quickly places me into this 15th-century epic. I just adore how “knights and princesses and dragons” it sounds, and the track below, which is a motif that runs throughout the wider score, is an excellent demonstration of that.
From Matt Miller
Absolum’s soundtrack is one of the best features in an already great game, offering memorable melodies, exciting battle themes, and surprising instrumentation. In addition to the fun of playing one more run for the joy of the gameplay, I often found myself choosing my path through the game just to hear particular tracks again.
From Charles Harte
You can actually here more context from Charles (and Kyle) about his favorite game music tracks of the year over on MinnMax.
From Eric Van Allen
From Kyle Hilliard
The track below is, admittedly, not a song I am jamming to outside of the game, but I just love how bizarre it is in the context of Donkey Kong Bananza. This track sounds like it belongs in a Playdead game, not a bombastic game about a little girl who dreams of being a singer.
And this one I like because it recalls Donkey Kong Country, specifically.
Fair warning that the video I am embedding here does contain spoilers for the end of Clair Obscur, but it is the best way to present the track.
This is just some primo background/study music that is also just a little creepy.
I am still holding out to play Deltarune for when it is complete, but my Deltarune/Undertale superfan daughter introduced me to this track and I fell in love with it.
And here’s a great cover version of it that I have also been enjoying.
What have been some of your favorite video game tracks of 2025? Let us know in the comments below!
