Doom's enduring legacy is inextricably linked to the raw energy of metal music. A single note from any Doom soundtrack, a fleeting glimpse of its demonic imagery, instantly evokes this connection. The series' signature blend of fire, skulls, and infernal creatures mirrors the aesthetic of countless Iron Maiden stages. This symbiotic relationship between Doom's gameplay and heavier music has evolved dramatically over its 30-year history, mirroring the genre's own transformations. From its thrash metal origins, Doom has traversed multiple metal subgenres, culminating in the metalcore fury of *Doom: The Dark Ages*.
The original 1993 *Doom*'s driving soundtrack drew heavily from late 80s and early 90s metal giants. Co-creator John Romero cited Pantera and Alice in Chains as key influences, a clear audible presence in the score. "Untitled," the track for E3M1: Hell Keep, for example, features a riff remarkably similar to Pantera's "Mouth of War."
Doom: The Dark Ages - Gameplay Screenshots
The broader *Doom* score embraced thrash metal, echoing the sounds of Metallica and Anthrax. This pounding rhythm propelled players through Mars' claustrophobic corridors, seamlessly blending demonic encounters with the frenetic pace of the music. Thrash's raw energy, its immediate impact, mirrored the game's shotgun-fueled intensity. Composer Bobby Prince's soundtrack remains as iconic as the game itself, perfectly capturing the rhythm of its unforgettable gunplay.
For over a decade, *Doom* and its music maintained a similar trajectory. Then, in 2004, the experimental *Doom 3* emerged. This survival horror-inspired iteration took risks, some more successful than others. The controversial flashlight mechanic, preventing simultaneous shooting, proved antithetical to the *Doom* experience, ultimately removed by modders and a later re-release. However, *Doom 3*'s innovative spirit was undeniable. Its slower pace demanded a new sonic landscape, leading id Software to seek fresh inspiration.
Chris Vrenna, a former Nine Inch Nails member, ultimately helmed the soundtrack with Clint Walsh. Their creation evokes the atmospheric intensity of Tool's *Lateralus*, with its winding time signatures and unconventional soundscape perfectly complementing the sci-fi horror setting. While *Doom 3*'s survival horror elements are now seen as an anomaly within the series, it remains a testament to id Software's willingness to experiment.
Following *Doom 3*, a period of development uncertainty ensued. After abandoning a *Call of Duty*-influenced *Doom 4* concept, id Software embarked on a complete series overhaul. The 2016 *Doom* reboot triumphantly returned to the franchise's frenetic pace. The game's gunplay synchronized flawlessly with its heavy metal score, composer Mick Gordon layering sub-bass frequencies with white noise to create a visceral soundtrack that even Meshuggah might find impressively bass-heavy.
Serving as a playable djent album, *Doom 2016* pushed boundaries in both gaming and metal. Its soundtrack became legendary, surpassing even the original in many fans' eyes. The challenge: how to follow up on a masterpiece like "BFG Division"?
Mick Gordon returned for *Doom Eternal* (2020), but creative differences with id Software resulted in a soundtrack that's not entirely his own. The final product, however, undeniably bears his mark, evolving the previous soundscape with a more modern edge. *Eternal*'s soundtrack leans further into metalcore, the dominant metal genre of the late 2010s and early 2020s, reflecting its incorporation of platforming and puzzle elements.
While *Doom Eternal* is excellent, I personally prefer the raw power of *Doom 2016*. This preference mirrors my enjoyment of the rawer, less polished work of certain metalcore bands. *Doom: The Dark Ages* occupies a fascinating position. The recent Xbox Developer Direct showcased its revamped combat, suggesting a soundtrack to match its intensity.
*The Dark Ages*' slower pace, contrasted with *Eternal*'s frenetic verticality, features a Captain America-style shield, encouraging direct confrontation. This evokes the original *Doom*'s corridor-based combat, but on a grander scale, incorporating colossal mechs and fire-breathing dragons.
This necessitates a flexible soundtrack, capable of both crushing heaviness and lighter moments. The gameplay previews hint at influences from Knocked Loose's seismic breakdowns and thrash-inspired elements reminiscent of the original *Doom*, even drawing on the lyrical themes of earlier metal.
While the full scope of *The Dark Ages*' gameplay remains to be seen, id Software seems to be building upon the series' legacy and beyond. The inclusion of mythological creatures and giant mechs expands the traditional *Doom* formula, mirroring the evolution of modern metal's experimentation. This parallels the creative evolution of modern metal, from Bring Me the Horizon's incorporation of electronic and hip-hop elements to Knocked Loose's surprising reggaeton influences.
This is an exciting time for both heavy music and *Doom* fans. *The Dark Ages* promises to excel in all areas, but its combat will undoubtedly remain central. If *Doom* were a metal concert, its combat would be the headliner, and the soundtrack the atmospheric backdrop. While we've only glimpsed *Doom: The Dark Ages*, its potential is undeniable.
