"Injustice: Gods Among Us" Soundtrack Lyrics

"Injustice: Gods Among Us (Original Video Game Score) / Injustice: Gods Among Us – The Album" – Album Guide to Tracks and Key Scenes

Overview

What does a DC multiverse brawler sound like? Two parallel releases answer: a narrative-driven Original Video Game Score built around location/character set pieces, and a companion artists’ compilation—Injustice: Gods Among Us – The Album—timed to the game’s launch with brand-new cuts from alt-rock and electronic acts.

The score album (WaterTower Music, April 16, 2013) credits a team of game/film composers—Christopher Drake, Dan Forden, Dean Grinsfelder, Cris Velasco & Sascha Dikiciyan, among others—and sequences cues tied to campaign hubs (Gotham City, Atlantis, Themyscira, Hall of Justice) and story beats (“Lois – Batcave Mission,” “Betrayal / Revenge and Murder”). The artists’ album (also WaterTower, April 16 digital; CD April 23) features Rise Against, Depeche Mode, AWOLNATION, Portugal. The Man, Killer Mike, MSTRKRFT, The Faint, and more, functioning as promotional/bonus listening rather than in-engine level music.

Questions & Answers

Who composed the in-game score?

Primary contributors include Christopher Drake, Dan Forden, Dean Grinsfelder, and the duo Cris Velasco & Sascha Dikiciyan; cues are credited per track.

What exactly is Injustice – The Album?

A label-curated, various-artists release aligned with launch; it’s not the same as the underscore you hear during gameplay.

Release details?

Both albums streeted April 16, 2013 (WaterTower Music). The artists’ disc hit CD on April 23.

Headline artists on the compilation?

Rise Against (“Sight Unseen”), Depeche Mode (“Angel”), AWOLNATION (“THISKIDSNOTALRIGHT”), Portugal. The Man (“Evil Friends”), Killer Mike (“Villain”), MSTRKRFT, The Faint, Minus the Bear, Pictureplane, Jacob Plant, Zeus.

Where can I see official track credits for the score?

The label’s score page lists per-cue composer attributions (e.g., “Gotham City” – Rich Carle; “Themyscira” – Dan Forden).

Is any artists’ track used in trailers?

Yes—several compilation cuts were featured across pre-release promos and recap reels alongside the orchestral score.

Notes & Trivia

• Both albums share the same date as the North American game release (April 16, 2013).
• The score album’s cue titles map directly to campaign locales and plot turns.
• “Sight Unseen” (Rise Against) and “Villain” (Killer Mike) were positioned as showcase singles in press rollouts.
• Christopher Drake and Dan Forden both have deep DC/NetherRealm pedigrees; Velasco & Dikiciyan brought their hybrid action sonics.

Genres & Themes

Hybrid orchestral action → myth scaled to arena. Low brass, string ostinati, big taikos/electronics pace boss moments and story cutscenes.

Dark ambient/industrial layers → regime vs. resistance. Processed percussion and synth beds shade the “One Earth” totalitarian arc.

Alt-rock/electronic on the companion album → brand voltage. Anthemic hooks and heavy beats energize trailers, playlists, and tie-ins.

Tracks & Scenes

Representative placements and cue functions (story mode beats; compilation usages noted). Timings vary by platform/cutscene edit.

“Injustice – Gods Among Us” — Christopher Drake
Where it plays: Main theme across menus and early narrative setups (non-diegetic).
Why it matters: Establishes the franchise tone—minor-key brass hooks over hybrid percussion.

“Gotham City” — Rich Carle
Where it plays: Gotham story chapters and arena transitions (non-diegetic).
Why it matters: Urban motor—pulses and metallic hits to frame Batman/Joker confrontations.

“Atlantis” — Rich Carle
Where it plays: Aquaman arc, undersea arena (non-diegetic).
Why it matters: Low-end surges and ceremonial brass sell royal scale and pressure.

“Themyscira” — Dan Forden
Where it plays: Wonder Woman’s island sequences (non-diegetic).
Why it matters: Modal strings and war-drums—myth but with arena momentum.

“Hall of Justice” — Dan Forden
Where it plays: Resistance regroup beats and arena intros (non-diegetic).
Why it matters: Heroic intervals; the cue brightens the palette without losing weight.

“Lois – Batcave Mission” — Christopher Drake
Where it plays: Flashback/catalyst cutscene material (non-diegetic).
Why it matters: Emotional spine—strings step forward, electronics recess.

“Betrayal / Revenge and Murder” — Cris Velasco & Sascha Dikiciyan
Where it plays: High-stakes regime pivot scenes (non-diegetic).
Why it matters: Aggressive hybrid writing for moral breaks and table-flips.

“Stryker’s Island Prison” — Dan Forden
Where it plays: Prison infiltration/fight runs (non-diegetic).
Why it matters: Ticking patterns + low brass = stealth turning to siege.

Compilation: “Sight Unseen” — Rise Against
Where it plays: Featured in launch marketing/editorial mixes (promo use).
Why it matters: Protest-energy chorus mirrors the resistance theme.

Compilation: “Angel” — Depeche Mode
Where it plays: Used in promotional tie-ins and playlists around release (promo use).
Why it matters: Dark electronic throb suits the game’s noir-authoritarian texture.

Compilation: “Villain” — Killer Mike
Where it plays: Spotlight single for the album; heard in promotional materials (promo use).
Why it matters: Lyrical framing of power and fear—the game’s central dialectic.

Music–Story Links

The score splits the map: Gotham’s metallic pulse vs. Themyscira’s war-drum ritual vs. Atlantis’s pressure-wave grandeur. When the campaign dives into trauma (the Lois catalyst), texture thins and strings lead. The artists’ album doesn’t score scenes; it expands the game’s identity into marketing, streams, and fandom spaces.

How It Was Made

WaterTower Music handled both releases. The score is multi-composer by design, allowing location-specialized writing while keeping a shared hybrid action language. The compilation was A&R’d as a launch companion, with premiere tracks delivered by established acts (Depeche Mode, Rise Against) and newer voices (Pictureplane, Jacob Plant) to broaden reach beyond players.

Reception & Quotes

Press framed the dual-release strategy as savvy: orchestral heft for story mode, plus a playlist-friendly LP for discovery and trailers.

“A label-prime companion record—Rise Against, Depeche Mode, Killer Mike—dropped the same day as the game.” music press

“Location-titled cues make the campaign feel cinematic without repeating one theme to death.” album notes coverage

Additional Info

• Score highlights: “Injustice – Gods Among Us,” “Gotham City,” “Atlantis,” “Themyscira,” “Hall of Justice,” “Betrayal / Revenge and Murder.”
• The Album highlights: “Sight Unseen” (Rise Against), “Angel” (Depeche Mode), “THISKIDSNOTALRIGHT” (AWOLNATION), “Evil Friends” (Portugal. The Man), “Villain” (Killer Mike).
• Both albums are under the WaterTower label umbrella tied to Warner Bros./DC.
• The game launched April 16, 2013; Ultimate Edition followed later with DLC—not a different soundtrack program.

Technical Info

• Titles: Injustice: Gods Among Us (Original Video Game Score); Injustice: Gods Among Us – The Album
• Year: 2013
• Type: Original score (multi-composer) + various-artists companion album
• Composers (score): Christopher Drake; Dan Forden; Dean Grinsfelder; Cris Velasco & Sascha Dikiciyan (track-specific)
• Label: WaterTower Music
• Release: April 16, 2013 (digital for both; artists’ CD April 23)
• Selected placements/usages: Score cues tied to campaign locations/scenes; compilation tracks used in trailers and marketing/editorial mixes.

Canonical Entities & Relations

Sources: WaterTower Music (official score & album pages), Apple Music listing (score track times), VGMdb composer credits, Wikipedia game entry (release and album overview), Pitchfork news item (compilation details & date), official trailers (ID above).

November, 11th 2025