Everyone remembers where they were when they first heard "The Only Thing They Fear Is You." It wasn't just a song; it was a physical sensation. When id Software announced the prequel, fans immediately started asking about the DOOM: The Dark Ages soundtrack because, honestly, the music is fifty percent of the power fantasy. If the chugs aren't heavy enough, the shotgun doesn't feel as good. It’s science. Sorta.
But there’s a massive, chainsaw-sized elephant in the room. Mick Gordon isn't coming back. After the very public, very messy fallout over the DOOM Eternal soundtrack mixing, the bridge isn't just burnt—it’s nuked from orbit. This leaves id Software in a weird spot. How do you follow up the guy who literally invented "Argent Metal" by running sine waves through a series of Soviet pedals and chainsaws? You don't. You pivot.
The Industrial Medieval Shift
The trailer for DOOM: The Dark Ages gave us our first real taste of the new direction. It’s different. You can hear it immediately. While DOOM 2016 and Eternal were rooted in high-gain industrial synths and futuristic "glitch" textures, this new score sounds heavy in a more traditional, almost "physical" way. It’s got that grinding, mechanical weight that fits a Slayer who wears a cape and carries a flail.
Andrew Hulshult and David Levy are the names on everyone’s lips. They stepped in for the Ancient Gods DLCs, and they did a hell of a job. Hulshult, in particular, is a legend in the "Boomer Shooter" revival scene. He’s the guy behind the music for DUSK, Amid Evil, and Quake Champions. He knows how to make a MIDI-inspired riff feel like a punch to the throat. But even they have a challenge here. They aren't just making "more DOOM music." They have to define the sound of a Dark Age.
Think about the imagery we've seen. Stone castles. Giant mechs that look like they were forged in a cathedral. Dragons. The DOOM: The Dark Ages soundtrack has to bridge the gap between "high-tech hell" and "ancient cosmic war." We’re hearing more rhythmic percussion. More chanting. It feels a bit more "barbaric" and less "cybernetic."
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Who is Actually Composing This?
Official confirmation is always a bit tricky with Bethesda until closer to launch, but the DNA of the trailer music points toward the internal team that saved the Eternal DLCs. David Levy and Andrew Hulshult have shown they can mimic the "DOOM style" while adding their own flair. Levy brings a cinematic, orchestral weight that Mick sometimes avoided in favor of pure distortion. Hulshult brings the raw, thrash-metal energy of a guy who grew up on 90s id Software games.
Some fans are holding out hope for a wildcard. Mentioning names like Geoff Playdie (who worked on Warhammer 40,000: Darktide) or even Bill Elm and Woody Jackson might seem like a stretch, but id Software loves to experiment. However, the most likely scenario is that Levy and Hulshult are the primary architects. They've earned the trust of the community. They know the gear. They know the math behind the "mick-style" sidechaining that makes the music breathe with the player's heartbeat.
It's a tough gig. If the music is too similar to the previous games, people say it’s derivative. If it's too different, people say it "doesn't feel like DOOM."
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Why This Soundtrack Matters More Than Ever
Video game music has moved past being background noise. In DOOM, it’s a gameplay mechanic. The "glory kill" system and the combat loops are timed to the BPM. When you’re ripping an Imp's head off, the snare hit should land exactly when the bone snaps.
The DOOM: The Dark Ages soundtrack needs to reflect the new shield-saw and flail combat. These are heavier, slower weapons than the rapid-fire plasma rifle. This suggests a slight drop in tempo. We might be moving away from the 120-140 BPM range into something more deliberate and crushing. Imagine the sound of a giant stone bell being hit with a sledgehammer—that's the energy this game demands.
There's also the "medieval" element. We’ve seen some fans worry it’ll turn into generic "epic" fantasy music. You know the stuff. Violins and choirs that sound like every other RPG. But this is DOOM. If there's a choir, they should be screaming in agony or chanting in a tongue that makes your speakers bleed. The "dark ages" moniker is an aesthetic, not a limitation.
Breaking Down the Trailer Audio
If you listen closely to the reveal trailer, the mix is incredibly dense. There’s a specific "grinding" texture—likely a custom-built instrument or a very heavily processed guitar—that mimics the sound of the Shield Saw spinning. This is a classic id Software move: taking a sound effect from the game world and turning it into a percussion element.
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- The percussion is "thumpier." Less "clicky" metal triggers, more "roomy" acoustic drums that sound like they were recorded in a cavern.
- The low end isn't just sub-bass; it’s distorted fuzz.
- There's a noticeable lack of the "high-tech" chirps and computer bleeps that defined the Eternal HUD-music.
It's honestly refreshing. We've had two games of futuristic hell. Going back to a time of "Sentinel" history allows the composers to use weird, ancient instruments. Think hurdy-gurdies through a Marshall stack. Or Mongolian throat singing mixed with 8-string guitars.
The Shadow of Mick Gordon
We have to talk about it. Mick's 2022 statement regarding the DOOM Eternal OST disaster was a watershed moment for the industry. He detailed a grueling work schedule and a breakdown in communication with Marty Stratton. For many fans, Mick is DOOM.
This puts the new composers in a weirdly defensive position. They aren't just writing music; they’re trying to satisfy a fanbase that feels a bit protective of the "old" sound. But here's the reality: the DOOM: The Dark Ages soundtrack is its own beast. The game is a prequel. It’s supposed to feel legendary and mythic. By leaning into the "Dark Ages" theme, the new team can create a legacy that doesn't rely on being "Mick Gordon Lite."
What to Expect Next
As we get closer to the 2025 release date, Bethesda will likely drop a "Music of the Dark Ages" featurette. They did it for the previous games, and they know the music is a massive selling point. Watch for mentions of "custom instruments." id Software loves a gimmick—whether it’s a choir of heavy metal vocalists or a synth made out of a circuit-bent toy.
The soundtrack will likely be released in tiers. We'll get the in-game versions first, which are dynamic and change based on how many enemies are on screen. The "official" album mix usually comes later. Given the previous drama, expect id to be much more careful with how the standalone album is handled this time around. They cannot afford another "compressed wave-form" controversy.
Actionable Steps for DOOM Fans
If you're looking to dive deeper into this specific style of music or prepare for the release, here is what you should actually do:
- Listen to Andrew Hulshult’s "IDKFA" Album: This is his remake of the original DOOM (1993) soundtrack. It gives you a perfect blueprint of how he handles classic DOOM motifs with modern production. It’s the closest "hint" at his potential direction.
- Follow David Levy on Social Media: He often posts clips of his modular synth setups. It’s a great way to see the "industrial" side of the sound design before the game launches.
- Revisit the DOOM Eternal: The Ancient Gods Soundtracks: Since these were the first "post-Mick" scores, they represent the bridge between the old style and the new "Dark Ages" approach. Notice the increased use of orchestral layers.
- Check your audio setup: DOOM music is notoriously "loud" and heavy on the low end ($20Hz$ to $100Hz$). If you’re playing on built-in monitor speakers, you’re going to miss half the experience. A decent pair of open-back headphones or a dedicated subwoofer is basically a requirement for this franchise.
- Monitor the official Bethesda YouTube channel: They typically release "composing the score" videos about 3–4 months before launch. These are the only places you’ll get 100% factual confirmation on the gear and vocalists used.
The music of DOOM has always been about "controlled chaos." Whether it's a chainsaw or a synthesizer, the goal is to make you feel like the most dangerous thing in the room. From everything we’ve heard so far, The Dark Ages is leaning into a heavier, more primal version of that feeling. It’s not just a soundtrack; it’s a war drum for a different kind of apocalypse.