The heavy metal community collectively lost its mind when that first trailer dropped. You know the one. A giant mech, a shield that shreds demons like a lawnmower, and a soundscape that felt both hauntingly ancient and violently modern. For months, the biggest question wasn't just about the gameplay mechanics; it was about the Doom The Dark Ages music and who exactly was behind the curtain after the high-profile departure of Mick Gordon.
It's Andrew Hulshult. Finally.
If you’ve played Dusk, Amid Evil, or the Ancient Gods DLC for Doom Eternal, you already know he’s the heir apparent to the throne of industrial metal mayhem. But this isn't just a "more of the same" situation. The shift in tone for The Dark Ages is a massive pivot from the synthesizer-heavy "argent metal" of the previous two games. We're moving away from the glitchy, digital screams of a futuristic Mars and heading straight into a medieval apocalypse that sounds like it was forged in a literal blacksmith's shop.
The Mechanical Soul of Doom The Dark Ages Music
Hulshult isn't just trying to fill Mick’s shoes. That’s a trap. Instead, the direction for the Doom The Dark Ages music seems to be leaning into what fans are calling "prehistoric industrial." Imagine a world where electricity doesn't exist, but anger does. Lots of it.
To get that sound, the production involves a lot of organic textures. We’re hearing more traditional percussion—big, booming war drums—layered with the kind of crushing guitar tones that make your teeth rattle. It’s less about the "beep-boop" of a corrupted AI and more about the "clack-clink" of heavy plate armor and swinging maces. Honestly, it's a refreshing change. The previous games were so dense with layers that it sometimes felt like a wall of noise. This feels... heavier. More deliberate.
Why the Andrew Hulshult and David Levy Partnership Works
ID Software didn't just pick a name out of a hat. The partnership between Andrew Hulshult and David Levy was battle-tested during the Doom Eternal DLC cycles. When they stepped in to finish the music for The Ancient Gods, they had an impossible task: follow up the most awarded soundtrack in the franchise's history under a mountain of controversy.
They nailed it.
Levy brings a cinematic, atmospheric weight that grounds the chaos. Hulshult brings the "fuck yeah" riffs. When you look at the Doom The Dark Ages music, you're seeing the evolution of this duo. They aren't just mimics. Hulshult, specifically, has this weirdly specific ability to channel 90s tracker music energy through a modern high-gain amplifier. He understands the "Doom-ness" of the sound—that rhythmic, driving chug that makes you want to run through a brick wall.
Moving Beyond the "Mick Gordon Sound"
Let's address the elephant in the room. People are still protective of that 2016 sound. And rightfully so! It changed how we think about game audio. But The Dark Ages is a prequel. It’s a story about the Slayer’s origins as a warrior in a more primitive, brutal era.
If the music sounded like a dubstep concert in a microwave, it would feel wrong.
The Doom The Dark Ages music uses acoustic space differently. You can hear the "room" in the drums. There's a certain "clank" to the mid-range of the guitars that feels like metal hitting metal. It's a sonic representation of the Sentinel civilization. It’s regal but bloodstained.
A Different Kind of Violence
Some fans were worried that without the "sine-wave-as-a-weapon" approach, the game would lose its edge. It hasn't. If anything, the preview tracks we've heard suggest a return to a more "riff-centric" composition style.
- There’s a greater emphasis on recognizable melodies that get stuck in your head, rather than just rhythmic textures.
- The tempo seems slightly adjusted to match the "weightier" feel of the Slayer’s new movements and his "Atlan" mech.
- Use of choral elements—not just the "Slayer Choir" of heavy metal vocalists, but something more liturgical and dark.
It’s a bit like comparing a chainsaw to a broadsword. Both are going to ruin your day, but they do it with a different vibration.
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What to Watch (and Listen) for Next
The full soundtrack hasn't leaked yet, and id Software is being pretty tight-lipped about the tracklist. However, if you want to understand the DNA of what’s coming, you should go back and listen to Hulshult’s work on the Quake Champions soundtrack or his "IDKFA" remake of the original Doom OST.
He has a habit of hiding "musical Easter eggs" in his tracks—little nods to the 1993 Bobby Prince compositions. Don't be surprised if the Doom The Dark Ages music contains some very slowed-down, distorted references to the classic themes we grew up with.
Actionable Insights for the Best Audio Experience
If you’re planning on playing The Dark Ages when it drops, don't rely on your TV speakers. This soundtrack is being engineered with massive dynamic range. You’ll want a setup that can handle low-end frequencies without muddying the mid-range.
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- Invest in Open-Back Headphones: If you want to hear the "air" in those new war drums, open-back cans like the Sennheiser HD600 series or even the more affordable Philips SHP9500 will give you a much wider soundstage than closed-back gaming headsets.
- Check Your Subwoofer Crossover: For those using a 2.1 or 5.1 system, set your crossover frequency carefully. You want the "thump" of the kick drum to be felt in your chest, not just heard as a hum.
- Listen to the DLC Tracks: To get your ears "tuned" to the Hulshult/Levy style, spend an hour with The Ancient Gods Part 1 & 2 OST. It’s the bridge between the old era and what we’re about to get.
The transition to a new era of Doom music is always polarizing, but the pedigree here is undeniable. We're moving from the laboratory to the battlefield, and the music is leading the charge. Make sure your gear is ready to handle the weight of the Dark Ages. ---