- For
Legends of Runeterra music, see Music (Legends of Runeterra)
The Music of League of Legends is an amalgamation of every song released officially by Riot Games Inc. through the means of music Albums or direct internet viewing. Previously, every song was posted on LoLSoundcloud.com, but the official site for all of their albums can be found here. During PAX East 2015, Riot did a panel specifically for League music, including some orchestral and vocal performances.
Contents
Production
Frequencies – The Music of League of Legends
Riot Documentary
| “ | "Music and games share an intertwined history stretching back to neon-soaked arcades and dusty living rooms crowded with tangles of twisting plastic controller cords. From chiptune scores to the sweeping symphonies of expansive fantasy worlds,the relationship shared between games and music simultaneously elevates both art forms. Frequencies is a behind-the-scenes look at that harmony at Riot; the moment when creativity, collaboration, and passion collide to forge and reinforce story through music." |
| — Frequencies[1] | |
 |
Albums
Music of League - Volume 1
- Released January 27th, 2015[2]
| “ | Experience moments woven within the League of Legends universe through soaring scores and victorious anthems. Listen as 15 new and classic League tracks come together for the first time beyond the game. This is the Music of League. From January 28th 2015, the album will be available on amazon mp3, Grooveshark, iTunes, Spotify, and more! Song credits available here. |
| — Riot Games | |
|
Genre: Orchestral, Rock
- Alex "Scherzophrenia" Temple - mixing on "Curse of the Sad Mummy"
- Christian "Praeco" Linke - mixing, programming, producer, lyrics for "Curse of the Sad Mummy"
- Cameron Stone - cello on "Freljord"
- Chris Bleth - ethnic woodwinds on "Freljord"
- Dan Negovan - additional programming
- David Low - cello on "Daylight's End"
- Devin Kelly - percussion on "Freljord"
- Devon "RiotRunaan" Giehl - lyrics for "Daylight's End"
- Hollywood Scoring Orchestra on "Demacia Rising"
- Leif Woodward - viol da gamba on "Freljord"
- Laura Conway - vocals on "Freljord"
- Lisa 'Saiyaka' Thorn - vocals on "Daylight's End" and "Freljord"
- Luke Maurer - viola on "Daylight's End"
- Mark Robertson - violin on "Daylight's End"
- Maia Jasper - violin on "Daylight's End"
- Paul Cartwright - violin on "Freljord"
- Paul Allman - Nyckelharpa on "Freljord"
- Agnete Kjølsrud - vocals on "Get Jinxed"
Videos
 Demacia Rising
| |
 | |
|
Scarlet vow, | |
| 04:07 | 27-Jan-2015 |
 Tidecaller
| |
 | |
| 04:13 | 27-Jan-2015 |
 Tiny Masterpiece of Evil
| |
 | |
| 04:56 | 27-Jan-2015 |
 The Curse of the Sad Mummy
| |
 | |
|
Every child in Valoran has heard the tale before, For many years, young Amumu traveled through the lands, But then the curse began to whisper in his ear, The sorrow and despair, The moment when Amumu realized what he had done, | |
| 03:59 | 26-Jan-2015 |
 Quinn and Valor 
| |
 | |
| 03:30 | 27-Jan-2015 |
 Braum
| |
 | |
| 03:33 | 12-May-2014 |
 Tales of the Rift 
| |
 | |
| 03:34 | 27-Jan-2015 |
 Lulu and Shaco's Quirky Encounter 
| |
 | |
| 02:36 | 27-Jan-2015 |
 Freljord
| |
 | |
| 03:30 | 30-Apr-2013 |
 Rise of the Ascended
| |
 | |
| 03:29 | 16-Sept-2014 |
 Daylight's End
| |
 | |
|
Ask not the sun why she sets For silent falls the guilty sun No mercy for the guilty Cruel moon, bring the end | |
| 03:46 | 08-July-2012 |
 Challengers
| |
 | |
| 02:55 | 27-Jan-2015 |
 Get Jinxed
| |
 | |
|
Blah blah blablah Do you ever wanna catch me? Come on, shoot faster So much better, so much fun Come on, shoot faster Come on! | |
| 02:35 | 27-Jan-2015 |
 Super Galaxy Rumble
| |
 | |
| 01:58 | 02-Apr-2014 |
 Reborn
| |
 | |
| 02:44 | 09-Oct-2014 |
Warsongs
- Released January 12, 2016[3]
| “ | Amp up your in-game plays by injecting new beats into classic League tunes. Warsongs is a new collection of remixed anthems to accompany your competitive climb during the 2016 Season, and it's yours to download below. |
| — Riot Games | |
|
Genre: Dubstep
 Piercing Light (Mako Remix)
| |
 | |
| 04:51 | 21-Jan-2016 |
 Edge of Infinity (Minnesota Remix)
| |
 | |
| 04:01 | 21-Jan-2016 |
 Welcome to Planet Urf (Jauz Remix)
| |
 | |
| 04:08 | 21-Jan-2016 |
 PROJECT Yi (Vicetone Remix)
| |
 | |
| 04:19 | 21-Jan-2016 |
 Flash Funk (Marshmello Remix) 
| |
 | |
|
— Pre-Chorus — — Chorus — — Pre-Chorus — — Chorus — | |
| 03:41 | 21-Jan-2016 |
 Let The Games Begin (Hyper Potions Remix)
| |
 | |
| 03:44 | 21-Jan-2016 |
| Worlds Collide (Arty Remix)
| |
 | |
|
— Verse 1 — — Pre-Chorus — — Chorus — | |
| 04:03 | 21-Jan-2016 |
| The Glory (James Egbert Remix)
| |
 | |
| 04:36 | 21-Jan-2016 |
 The Boy Who Shattered Time (MitiS Remix)
| |
 | |
| 04:50 | 21-Jan-2016 |
 Lucidity (Dan Negovan Remix)
| |
 | |
| 04:05 | 21-Jan-2016 |
 Silver Scrapes (ProtoShredanoid Remix)
| |
 | |
| 04:17 | 21-Jan-2016 |
More than Game Music: Making Warsongs
BY RUMTUMTUMMERS[4]
Music has the power to tell incredible stories, and we've always been interested in finding new and exciting opportunities that harness this power. Smite and Ignite was a celebration of all things metal. DJ Sona was our way of exploring music that impacts gameplay (and vice-versa). So when we finished work on The Music of League of Legends, Vol 1. and started thinking about our next project, we knew we wanted to go big. Riot Records, our internal name for “the team that does album stuff,” had just the idea: an album that could serve as the soundtrack to the 2016 ranked season.
- Playlist origins
Warsongs is meant to be music that amps players up for League and puts them in the ladder-climbing mindset. Riot Records producer Tyler Eltringham explains its origin: “We released a metal album, and a soundtrack. So then everyone started thinking, 'Okay, what next? What's the next big idea?'” Those conversations took the team toward the idea of an album designed to evoke a feeling of competitiveness and forward momentum. “What, we asked, would inspire players to push harder, to queue again?”
...Riot Records actively looks for musicians who love games and can find inspiration in League for these cool collaborations.
Electronic music felt like the natural choice, both because of its popularity in the League community and because of the number of EDM artists with close ties to games and gaming culture. “We've seen so many streamers listening to EDM while they stream,” says Eltringham, “and we knew there were tons of artists in EDM who are either huge League fans or huge gamers. It already feels like a natural part of the game.”
Dev manager Toa Dunn adds, “A lot of EDM musicians trace their influences back to hearing music in games—it seemed cool to have it all loop back around on itself this way.”
“Besides, part of what makes Riot Records unique as a team,” says Eltringham, “is that most of the effort is focused on finding people to work with externally. We have amazing in-house composers working on music for the game, but Riot Records actively looks for musicians who love games and can find inspiration in League for these cool collaborations.”
With the genre decided, the Riot Records team was ready to move into production.
- For games, but not for a game
The team started by building a list of potential artists for the project. Says Dunn, “It was basically a blue-sky collection of people we'd love to work with.” From there, the team vetted each artist based on their gamer creds, musical style, and understanding of the project. Dunn says that the team asked questions like: “Do they play League, are they part of gaming culture, do they 'get' the League community? Will this person be accessible, and does it feel like an authentic fit?”
What would be the point if artists were forced to match some sound the team imagined? It would be an insane waste of talent and probably would limit the album, quality-wise.
Eltringham emphasizes the importance of finding artists with genuine connections to gaming, saying, “It wasn't about finding big names for the big names. It had to be musicians who really connected to what Warsongs was trying to do, who had a sense of 'This is how music gets me excited and hyped when I play games I love.'” The team also placed a big emphasis on the idea of variety—with “EDM” being more of an umbrella term than an actual genre, it was important that Warsongs run the stylistic gamut from big room anthems to dirtier dubstep, progressive house, and more. “Good gaming music to one person might be the opposite to another,” says Dunn, “so the team focused on sound diversity within the album.”
The Riot Records team also stresses the importance of letting each artist's sound shine through in their tracks. “It was tricky,” says Dunn. “A lot of artists are used to working with companies who are like, 'Take this and make a video game song.' That wasn't the goal here.” Artists needed to take the core idea and run with it for Warsongs to hit its full potential.
"What would be the point if artists were forced to match some sound the team imagined?" Eltringham adds. "It would be an insane waste of talent and probably would limit the album, quality-wise.”
- Getting hype
Riot Records designed Warsongs from its foundation to be something that exists outside of League while still being inextricably connected to it. “It would be so cool if players take the album and bring it outside of the game, to their workouts or wherever they need to feel amped,” Eltringham says, “and to have this very League thing end up in places far beyond a second monitor or tab.” Riot Records, as a team, is just hopeful that players like the album as much as they do, and that it provides players the extra energy they need to climb the ranked ladder.
“If you go to a basketball game, you hear jock jams, right? Those songs say, 'It's game time.' Hopefully, Warsongs can be that for League—fuel for the fire,” says Dunn.
