Another week means another game worthy of recognition in its music. I’ve been super excited about this game, actually. It’s definitely one of my all-time favorite games of 2016. Not only for the soundtrack but also for the exact reason Bethesda is sticking close to putting a library of games on the Switch. Of course this week I am talking about Doom!
Mick Gordon handled the composition and rearrangements of Doom. He has done a handful of other games for Bethesda as well, such as Dead Space 3, Wolfenstein: The New Order, and more recently Wolfenstein 2: The New Colossus. If you’ve never heard of Mick Gordon you’re in for a treat. His music attaches itself to you and never lets go. The passion he puts into each of his pieces is stunning. The talent he was blessed with especially for not going to college, is a rare find, to say the least. Included in this weeks blog will be a video describing the development process it took for Gordon to compose such kick-ass tunes. Before we get onto that, get ready to change your pants.
The initial build-up is the ultimate preparation to what’s in store. Ripping and tearing flesh right off of your bones. You unleash a devastating shout as you grab your chainsaw and become the devil himself. Chosen by fate, given nothing but a hope as to if you can make it out alive. Body parts lying all across the ground. Anything and everything is your weapon. Is this a hallucination?
Gordon was fully committed to delivering a truly remarkable soundtrack to fans both new and old. Rearrangements were in order to capitalize on that thought. To make it his own, Gordon used a variety of different instruments capturing retro riffs with modern tastes. The video here is a better classification into what he most desired for the games sound.
A good phrase Gordon uses is “Doom is claustrophobic”. He hit the nail right on the head with that one. The E1M1 riff set the standard as to what Doom is. Also, who else just sat in awe drooling over that 9 string guitar? Looking at the mumbo-jumbo of a mess Mick had in his recording room, one could say it’s no cake walk in deciding the right sound for the job. I will say though, with his talent he made it look easy.
Knock Knock. Who’s there? Insanity, come to steal your soul. The collaboration between drum and bass, breaking down your door without a moments notice. Striking without mercy, the darkness comes out to play. My mind is no longer mine. Inhumane thoughts roam the surface; this is the brink of my destruction.
The irregular feelings you get while listening to this song, better yet album, is quite the uncanny situation. Is Hell a real place? Does this make your nightmare a reality? Though thought to be a dream, you pinch yourself thinking you’ll wake up only to find you are captured in the tainted red world.
I’m not gonna lie, I’m having quite the heyday writing about this game. Mick Gordon has got to be another one of my all-time favorite composers. As sick and twisted as it sounds, he does a good job engrossing you in that feeling of never-ending suffering. I wanna say it makes my ears bleed but in a good way. If you haven’t put the pieces together yet, yes I am a bit of a metalhead.
Doom 2016 had quickly become one of my all-time favorite games thanks to the soundtrack. Mick Gordon captured my attention in such a way I craved more. I've been working my way through other games he had written music for, and though they are true Gordon pieces, Doom is by far my favorite. Here is to hoping the next Doom project is written and composed by Mick as well. Also, because it was Hell based I purposely made this blog short at 666 words. Go ahead, count them.