Doom: The Dark Age Soundtrack Review
A towering image. But is this a towering soundtrack? Ever since it’s inception in the early 90s, Doom has always had a pretty badass soundtrack, whether it’s the MIDI rock of classic DOOM, the haunting and absolutely brilliant ambience pieces from DOOM 64, or, of course, the metal-synth fusion from Mick Gordon that defines the sounds of the last two Doom games. But times have changed- Mick Gordon isn’t there anymore. This time, it’s Finishing Move, a soundtrack and music production group, that is helming this project. Every soundtrack is a tough job, but following Mick Gordon is a big one.
So, we’re gonna actually go…track by track and discuss them each a little bit and then we’ll break down how it really stacks up. My impression in general is that I don’t think its quite as immediately catchy, but after playing the game a while, I started to really appreciate a lot of tracks on here and understand more of the sound palate they were working with and why. I don’t think it’s quite as good as the previous two soundtracks. But I’ve seen people saying it flat out sucks and I think that’s generally incorrect. There’s absolutely some bangers and moments on this soundtrack. And we’re gonna go through, find them and really get into this.
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01. Invasion- A strange opening track honestly, but in context it really works. This medieval gloom and chanting over the first half sets this tone of dread and then the second half expands on that with movement, more action, establishing a change. The name is fitting- this does sound grueling and oppressive and generally bad, until the last 35 seconds that introduce the main motif and suggests that the story isn’t over. And it’s not. (B)
02. From The Ashes- Actually a great track once I got used to it. This theme motif they use is badass in a different way but kind of fits the game perfectly. It’s a little edgy, self assured and brash but also smooth. It’s a vibe. And then they come in with the heavy guitars and it fits and…is very Doom. The track has it’s various changes, sometimes to a calmer more background vibe, other times to a metal hell, but the overall motif just works. (A)
03. When The Shadows First Lengthened- This is another main theme that occurs a lot, especially during menu sections I believe. It’s mostly tension building early one, with Finishing Move deploying their synths and guitar pedals to create a rising and scintillating movement that builds into a wall of metal guitar, with soaring synth leads in the background. Not really the most unique idea in a Doom context, but it does absolutely fit. (B+)
04. Unchained Predator- Song from one of the trailers. Absolute classic. The intro is menacing and hard and the drop is sick. Really set the tone for this game from day one. The guitar riffs aren’t anything super unique but they fit the aesthetic and composition perfectly. (A+)
05. Hebeth- A strange track. Much slower and more ambient but also feels like it’s building to something that never quite comes. Heavy sci-fi influence here and it’s pleasant to listen to even if it’s a little strangely structured in my opinion. Reinforces the “alien” feel with some of it’s synth riffs. (B)
06. Atlan Battleground- This is a cool track. Pulls the best elements of previous tracks and synthesizes a very elegant piece of mech fighting music. Guitars, synth stabs, good drums and drops. (B+)
07. Sentinel Barracks- Slow, brooding track. It’s alright. Kind of whatever. Synth waves and the occasional menacing undertone. (C+)
08. Holy City- Similar to the last track at first. Some nice melodies here, good arrangement. But then near the end the tempo and urgency really picks up and this last minute really pulls it together. (B)
09. Blood Red- This is another one I think is simply alright. I like that it’s a fast, heavy track, but a lot of the core melodies and motifs are pulled from previous tracks and it’s lacking in originality. (B-)
10. Last Bastion- This one is brooding with a build, some pretty cool metal in the middle and then a steady tone down at the end back into brooding. Alright. Nothing really new here. (C)
11. Unholy Siege- An absolute power fest. One of the best tracks here and one that I will think will end up being iconic. The chugging guitars, the chanting in the background, the orchestral elements underpinning it, creating tension and awe…it’s an epic track, one that really feels like the sounds you’d expect from DOOM. (S)
12. Pursuit of Demons- This is like a minor hit. It’s really good. It’s got a driving pace that feels kind of unique compositionally, a very tight groove and doesn’t overcomplicate things. This could easily be a Judas Priest riff circa the 80s or something. It fits the vibe of combat perfectly- you’re badass and in action. (A+)
13. Unyielding- Despite it’s name, this is a soft, more ambient track. It’s not bad, it’s just not that interesting. (C)
14. Infernal Chasm- This is another great track. It’s got a cinematic, flowing buildup that leads into this crazy riff. It’s pedal to the metal bad ass riffsmanship, but with a polished touch that gives it an epic feel. The more frequent use of orchestral elements across this soundtrack are a big contrast with the previous two soundtracks. (S)
15. Hellspawn Rift- A fun little piece of metal that adds fuel to the fire and again, feels very Doom. The main riff here is tough and the arrangement stretches it out as much as it can, alternating between sparse menace and heavy soundscapes. (B+)
16. Titanic Prison- Another brooding atmospheric piece. Pulsing gated drums, synth pads, the occasional bass lines, all in haunting configuration. All things considered I think it’s pretty good. (B)
17. Ancestral Beast- A cut that I’ve started to like the more I list to it. Admittedly, in some small ways, it doesn’t feel very Doom. But it fits this particular Doom game perfectly. The heavy, chugging metal riffs, the eerie background guitars, the chanting overlayed with drums that seem almost tribal. (A-)
18. Transdimensional- Another ambient one, but I actually really like this one. It moves, it’s harrowing and it’s cool. It’s quietly very intense and purposeful, with eerie vibes that complement this game’s Lovecraftian vibes. (A-)
19. Cosmic Sea- Haunting, creepy, jarring and unnerving at first…then it finds it’s footing and becomes straight up kick ass. It’s the perfect DOOM-Lovecraft metal hybrid…well, one of them. This soundtrack actually has a few of those. (B+)
20. Into The Void- A cool track that feels like a perfect sucessor to the previous one, even borrowing various elements. This one is a little richer, more layered and dynamic. It’s got some of the ambient vibes of the previous track, but also has some hard metal thrown in at points to payoff the buildups. It has a lot of little solo sections that are really impressively composed in my opinion. (A-)
21. What Lies Below- An absolute, writhing, running banger. The tension and horror is immediate. This is setting a tone here. The brilliant background synths that, as throughout, remind me of Nine Inch Nails, make this track. The guitar parts aren’t crazy unique, but they perfectly compliment everything else going on. (A+)
22. Battle on the Blackened Tide- This one is a journey. It carries you from sparse synth and chat soundscapes into some very Doom metal riffing, back into ambient sounds and then back into hard metal. A smartly composed, fluid and impressive track. Not a pure standout but a very good track. (B+)
23. Steel Beyond The Grave- A solid metal grinder. It has some very cool moments and great metal riffing. Very intense and dynamic. Doesn’t stand out as much as others though, even if it is very neatly composed. (B)
24. Rebirth- Probably the softest track on here. It fits what it depicts in the game but it’s not really your traditional Doom cut and even beyond that it isn’t very interesting. (B-)
25. Divine Retribution- This is more like it. A grainy, gritty synth riff, followed by gurgling angry guitars. It’s good and I’m surprised I haven’t seen as many DOOM fans talking about it. It’s the “Cultist Base” of this soundtrack. (A)
26. Wither and Writhe- This one is a standout. A sludgy metal grind, it’s heavy and suffocating, almost instinctual in it’s melodic direction. As the song continues and expands it opens up more musically and becomes gradually more cinematic and dramatic, until it ends in a volley of electric guitars. (A-)
27. Rebuild- Yet another ambient brooder. As usual, it's not bad, it’s just not that different. There’s some elements at the end I liked, a subtle droning synth stab I picked up on that caught my ear. Other than that, it’s par for the course. (C+)
28. Colossus Unleashed- A solid little track. It’s another metal banger. Doesn’t feel particularly potent compared to other tracks on here. The riffs are just alright and some of the arrangement choices seemed a little questionable to me. (C+)
29. Onslaught of the Damned- Yep. Another ambient brooder. It’s not bad, has some interesting synth parts that make it stand out a little. Still not one of my favorites. (C+)
30. Theomachy-A reasonable strong metal thrasher. Takes a lot of the best cues from the previous bangers on here. Coming so late in the track list though, a lot of the novelty is gone. Still, it’s a very strong, urgent piece of music. The little break in the middle works pretty well and overall I think this is in the top half of tracks presented here. (B++)
31. Blood Spill- Unlike the first half or so, which was very saturated with ambient stuff, now we’re at metal territory. This is another up tempo energetic track. And honestly, while not bad, it just doesn’t grab me that much. It’s serviceable, but I’ve either heard it before or think I have at this point (C)
32. The Prince- A brooding character themed track. It’s not bad. Doesn’t feel that unique or special though. Compositionally it’s a very well made track. (B-)
33. Between Hex and Flame- A decent battle track, full of frenzy and tension. The Witch is an interesting character, more steeping in the Cosmic Realm than Hell (which is obvious if you play the game) and as such, her sound palette is appropriately different. The metal feels a little more generic and less Doom-ish though. But there’s some great synth leads that keep us grounded in the tone of the game and overall I think it works pretty well. (B)
34. Apotheosis- This one feels like it’s trying a little too hard. It’s up tempo and strained at times. Solid riffs, but something feels off. A little bit of the overall coherence seems to be missing, even with the all the usual sonic suspects here. Gritty synths? Check. Crunchy guitar. Ok. (B-)
35. He Is Out There- A good closer. Starts out with this relatively peaceful but slightly tense movement that builds, shifts and then breaks down into our excellent main motif. It’s a strong last three minutes, one that renews the sense of purpose here. Well done. Bravo. (B+)
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So there we have it- overall, I think the rumors that is was bad are greatly exagerrated. Is it as dynamic or exciting as the previous two soundtracks done by Mick Gordon? NO. But it’s a very worth attempt at following that up and I think we should recognize how close to the mark they came in some ways. There were maybe too many tracks for my taste, both ambient and metal. A lot of songs were too long in my opinion. But compositionally and tonally, this whole thing works pretty well. For a DOOM soundtrack you might say it’s lacking. But for a video game soundtrack in general, it kicks a lot of ass. So, kudos to Finishing Move and good on Id Software for getting them involved.
To finish off, I thought I’d give my 13 track version that cuts out a lot of the filler and gives us the gist, while still giving us the meat. I know, I know, that doesn’t make a lot of sense. But here it is-
DOOM: The Dark Ages Ego Clown Cut
From the Ashes (Track 2)
Unchained Predator (Track 4)
Unholy Siege (Track 11)
Pursuit of Demons (Track 12)
Infernal Chasm (Track 14)
Transdimensional (Track 18)
Cosmic Sea (Track 19)
Into The Void (Track 20)
What Lies Below (Track 21)
Divine Retribution (Track 25)
Wither and Writhe (Track 26)
Theomachy (Track 30)
He Is Out There (Track 35)
