#Doom music spectrograph full#
At various points in the soundtrack, the sound becomes less of a driving force and more of a percussive hammer, as all logical meter is cast aside to make way for the visceral force of nature that is Doomguy.Īnd where would any game be without some Easter eggs? Doom is full of them.
In an interview with Gary Steinman, Mick Gordon talked about needing time to go back over the bits and pieces of the soundtrack used in the game, and rework them into cohesive bits of a standalone album even going so far as to incorporate portions of the in game dialogue to give the soundtrack some 70s prog album flair.Īnd much like his prog rock brethren before him, Mick Gordon has no trouble abandoning traditional musical meters to deliver a more compelling musical experience. And this is partly the reason it took so long to get released after the game came out. Tracks like “Impure Spectrum” and “Authorization Olivia Pierce” give the player and the listener’s heart a much needed break from the frantic energy of the rest of the soundtrack.Įven apart from the masterful craftsmanship of Doom as a whole, the soundtrack stands on its own as a cohesive musical experience. For each Imp, Hellknight, and Baron you send back to Hell, the music is right there with you, feeding off your adrenaline as you rip and tear across the Martian surface.īut the greatness of Mick Gordon’s soundtrack comes not only from the driving aggression of the 9 string Schecters and Soviet synthesizers that dominate the bulk of the score (or the 8 string Mayones that ravage “The BFG Division”), but also from the quieter moments dotted amongst the sonic swells. And in Doom, the music is just as much a part of the combat as your guns. Music in games, much like music in film, is there to accentuate the player’s experience. And in Doom, none of these were overlooked. A well-crafted game is the culmination of gameplay, art design, vocal and physical performance, writing, and music. But unlike painting, sculpture, or movement, it is an art form that incorporates many different art forms. Video games, like film, television, and theatre, are an art form unto themselves.
His previous work with the famed publisher includes Wolfenstein: the New Order and Wolfenstein’s The Old Blood DLC and he’ll be doing the score for Bethesda and Arkane’s upcoming Prey reboot in 2017. Now, Doom is not the first soundtrack Mick did for Bethesda. But in this article I’ll be much less talking about the gameplay itself, and more about the sonic chariot you’ll be riding into hell: the amazing original soundtrack by Mick Gordon. In case you didn’t hear from the avalanche of praise gamers and critics heaped onto ID and Bethesda’s newest dive into the Doom universe, this year’s DOOM reboot was amazing. This article was originally published as part of this video
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