DOOM: The Dark Ages Soundtrack – A New Chapter in the Franchise's Musical Evolution
"It’s like if DOOM was scored by Hans Zimmer after a month in the underworld. Totally different vibe, but it works."
Table of contents
New Sound Rises in DOOM: The Dark Ages
For fans of video game music, few soundtracks in the last decade have landed with the sheer force of DOOM (2016) and DOOM Eternal. Mick Gordon’s aggressive, genre-defying scores didn’t just support gameplay - they reshaped what we expect from action game music. Every riff, every distorted synth blast, every pounding drum was an adrenaline rush of precision and chaos. So when DOOM: The Dark Ages was revealed - with a brand new sound and a new composing team - expectations were volcanic.
This time, the soundtrack isn't about brute force alone. Instead of pure industrial metal, we’re thrown into a medieval, dark fantasy landscape shaped by the sonic palette of Finishing Move Inc. , a composer team with roots in Halo Wars 2, The Callisto Protocol, and Microsoft Flight Simulator. It’s DOOM, but not as you’ve heard it before.
This is not just a review. It’s a breakdown of how The Dark Ages OST shifts DOOM’s musical DNA - and whether or not it pulls it off.
From Mick Gordon to Finishing Move Inc.
Let’s be honest - when we talk about modern DOOM, we’re not just talking about gameplay or visuals. We’re talking about sound. The way Mick Gordon’s sonic brutality in DOOM (2016) and DOOM Eternal redefined what metal-infused video game scores could do is the stuff of legend. Those chainsaw growls, the machine-tight rhythms, the way the soundtrack locked in perfect sync with the combat - Gordon didn’t just write music for DOOM; he weaponized it.
So when it was confirmed that he wouldn’t be returning for The Dark Ages, the news hit fans hard.
The split between Gordon and id Software was unfortunately very public, with creative disputes around the DOOM Eternal OST’s mixing surfacing across Reddit and social media. Whatever side of the story you lean toward, the result was the same: Gordon was out, and the series’ next sonic identity was in question.
And here is the Finishing Move Inc. enter. If their name doesn’t ring a bell immediately, their work might. From the atmospheric weight of The Callisto Protocol, to the war drums of Halo Wars 2, to the soaring cinematic tones of Microsoft Flight Simulator.
And in DOOM: The Dark Ages, they face the challenge of a lifetime: stepping into a franchise known for its unapologetic musical identity, and reshaping it for a darker, medieval world. Their approach? Strip DOOM back to its bones, but rebuild it with layers of choir, orchestration, synths, and rhythmically complex structures that feel more ancient than futuristic. Think less "hell in a machine" and more "hell in a cathedral."
Some fans miss Gordon’s distortion-drenched chaos. Others are embracing the new era Finishing Move Inc. is crafting. But no one can deny- it takes guts to follow a legend and still bring something fresh. The real question is: does their soundtrack hold up to DOOM’s legacy of high-octane, iconic music?
Let’s get into the sound itself.
Doom Dark Ages Soundtrack – Tone, Genre, and Composition
The moment DOOM: The Dark Ages drops you into its bleak, fire-lit world, the difference in tone is unmistakable. Gone are the relentless tech-industrial loops and raw guitar slams of Mars and hellscapes. In their place? Choral chants. Bone-shaking percussion. Brooding synths. Orchestral dread. This soundtrack doesn’t just tell you you’re somewhere new - it feels like it.
Finishing Move Inc. knew this wouldn’t be just another sequel. This is a prequel, a reimagining. The setting is ancient and brutal - a kind of medieval techno-dystopia - and the score mirrors that shift. Where Mick Gordon pushed DOOM into a high-octane cyber-metal rage, Trifon and White dig deep into ritualistic, Gothic, and cinematic territory , without letting go of the series’ rhythmic backbone.
Let’s break down what that sounds like.
Orchestration meets distortion: Strings swell in minor key motifs, layered with guttural synth textures that feel like decaying armor. There’s still metal DNA here, but it’s been reforged - refined into something colder, older, and heavier.
Rhythmic complexity: While Gordon’s riffs were known for syncopation and groove, Finishing Move Inc. leans into irregular meters, polyrhythms, and layered percussion. It’s still heavy, but less predictable. The effect? A constant sense of tension, like the music itself is stalking you.
Choral and ambient layering: One of the standout additions is the use of vocal textures - Gregorian-style chants, breathy choirs, even whispered phrases buried deep in the mix. These aren’t just aesthetic choices; they ground the player in a world of ancient violence and cursed ritual.
Sound design as score: In many tracks, sound design and music are indistinguishable. Clanging metal, detuned horns, reverb-drenched echoes- they all blur into the actual score, turning each environment into part of the musical experience.
The result is a soundtrack that doesn't seek to replicate the adrenaline spikes of DOOM Eternal—instead, it builds a sonic cathedral that pulses with menace. You don’t just fight in The Dark Ages; you march, chant, and descend.
To some longtime fans, it’s a bold reinvention. To others, it’s a slower burn than they expected from a franchise known for immediate punch. But from a composition standpoint, there’s no doubt: this score was carefully crafted to serve the world first , and then drive the gameplay.
And now that we’ve felt the shape of it—it’s time to get into the specifics. Let’s dive into the tracks that define this new chapter.
Track-by-Track Breakdown
The DOOM: The Dark Ages soundtrack is dense - 35 tracks spread across over two hours. It’s less about “greatest hits” and more about mood, continuity, and tension. Still, some compositions cut through the atmosphere and stand tall as defining moments of the game’s soundscape. Here’s a closer look at the tracks that hit hardest - and what they’re doing differently.
1. “Battle on the Blackened Plains”
Intensity Level: High | Primary Mood: Apocalyptic Anthem
This is The Dark Ages' call to arms. From its opening seconds, the track throws you into a grim war march, complete with detuned brass, relentless drums, and sweeping low strings. There’s a militaristic groove here - not quite metal, not quite classical - but somewhere in between. It evolves across its runtime with sudden tempo shifts and rhythmic punches that echo Gordon’s influence without copying him.
Pros: Layered instrumentation; cinematic pacing.
Cons: Lacks a strong, repeatable hook.
2. "Unholy Siege"
Intensity Level: Brutal | Primary Mood: Relentless Chaos
This one leans harder into the percussive violence fans expect. Think bone-snapping drums, snarling synth riffs, and dissonant pads. It almost dares you to survive. There’s also a subtle electronic undercurrent - reminding you that yes, you’re still in DOOM, even if everything sounds like it was recorded inside a cursed cathedral.
Pros: Pulsating low-end and dynamic pacing.
Cons: Some fans find it over-produced.
3. “Infernal Chasm”
Intensity Level: Medium | Primary Mood: Haunting, Eerie
Now we descend. This track pulls back from full-throttle metal to explore DOOM’s ambient side. Deep drones, atonal vocal samples, and slow, echoing percussion create a sense of dread - perfect for those quiet corridors just before the next hellwave begins.
Pros: Excellent atmosphere and ambient design.
Cons: May feel meandering outside of gameplay.
The Fan Response - Praise, Critique, and Nostalgia
If there's one thing DOOM fans aren’t shy about, it's talking music. And with The Dark Ages, the discourse has been fierce. Reddit threads have lit up. YouTube reactions are split. Steam reviews even mention the soundtrack before gameplay. Why? Because the sound of DOOM isn't just background noise—it's part of the identity. Change it, and you’re changing the soul of the series.
So, how did fans respond to Finishing Move Inc.’s new direction?
Praise: Fresh Blood, New Vibes
Many longtime players embraced the shift. They recognize that this is a prequel, a darker, medieval DOOM—and it should sound different. These fans point to the detailed production, the use of choral vocals, and the cinematic structure as signs of growth. One Redditor wrote:
“It’s like if DOOM was scored by Hans Zimmer after a month in the underworld. Totally different vibe, but it works.”
Others appreciated that the music stepped out of Mick Gordon’s shadow. The game doesn’t try to one-up DOOM Eternal in raw aggression. Instead, it leans into worldbuilding through sound - and for players who value immersion and mood, that’s a huge win.
Criticism: Where’s the Riff?
Still, not everyone’s thrilled. The biggest complaint? The lack of iconic hooks . Fans who loved Gordon’s instantly recognizable guitar licks - tracks like “Rip & Tear” or “The Only Thing They Fear is You” - felt that nothing in The Dark Ages hits quite as hard.
Steam users described parts of the soundtrack as “generic” or “forgettable,” particularly in combat. Some said it fades too much into the background - fine for film, maybe, but not for a game like DOOM.
And then there’s nostalgia. Many players admit it’s hard not to miss that signature DOOM brutality - distorted guitars, broken synths, the sonic punch in the gut. It’s not that The Dark Ages is bad - it’s that it’s not what they expected.
The Middle Ground: Give It Time
Of course, there’s also a healthy crowd that sees both sides. These are the listeners urging others to let the score settle. To play the game, hear the music in context, and appreciate what Finishing Move Inc. is doing on its own terms.
One YouTube commenter summed it up best:
“You don’t judge Black Sabbath by AC/DC standards. This is something different. Let it breathe.”
Our verdict - DOOM: The Dark Ages OST is 7/10
DOOM: The Dark Ages is a risk - and so is its music. But it’s a thoughtful, ambitious one. Finishing Move Inc. didn’t try to out-Gordon Mick Gordon. They understood the world they were scoring: darker, older, stranger. And they gave it a voice that rumbles with dread, ceremony, and ancient fire.
Is it different? Yes.
Is it divisive? Absolutely.
But is it DOOM? Without question.
This is music that dares to change form without losing power. And if you give it time - if you let the melodies twist through your headphones, if you feel the weight behind the drums, the chant behind the synth you’ll hear what The Dark Ages really is: A new voice, in an old cathedral, still screaming with rage.
And if you’re a collector or vinyl enthusiast, keep your eyes peeled. As of now, there’s no official announcement for a DOOM: The Dark Ages vinyl release, but given the franchise’s history (and the appetite for deluxe OSTs), a physical edition feels inevitable. It’s not a matter of if - just when.
You can also revisit previous DOOM vinyl release by Laced Records. If they continue the tradition, The Dark Ages may soon join that sonic shrine.
Is the Doom Dark Ages soundtrack worth to listen?
To some longtime fans, it’s a bold reinvention. To others, it’s a slower burn than they expected from a franchise known for immediate punch. But from a composition standpoint, there’s no doubt: this score was carefully crafted to serve the world first, and then drive the gameplay.
Who composed the Doom Dark Ages OST?
Finishing Move Inc., team. Known for their work on titles like Halo Wars 2, The Callisto Protocol, and Microsoft Flight Simulator, they bring a unique blend of orchestral and electronic elements to the table
Where can I buy the Doom Dark Ages vinyl soundtrack?
As of now, there’s no official announcement for a DOOM: The Dark Ages vinyl release, but given the franchise’s history, a physical edition feels inevitable. As for now you can revisit previous DOOM vinyl release by Laced Records
What is the full Doom Dark Ages soundtrack tracklist?
01. Invasion (opening cutscene)
02. From the Ashes (opening cutscene, Enhanced Ahzrak Phase 3)
03. When the Shadows First Lengthened (main menu music)
04. Unchained Predator (Chapter 01: Village of Khalim)
05. Hebeth (Chapter 02: Hebeth)
06. Atlan Battleground (Chapter 02: Hebeth, Chapter 03: Barrier Core)
07. Sentinel Barracks (Chapter 04: Sentinel Barracks)
08. Holy City (Chapter 05: The Holy City of Aratum)
09. Blood Red (Chapter 04: Sentinel Barracks, Chapter 05: The Holy City of Aratum)
10. Last Bastion (Chapter 06: Siege Part 1, Chapter 07: Siege Part 2)
11. Unholy Siege (Chapter 06: Siege Part 1, Chapter 07: Siege Part 2)
12. Pursuit of Demons (Chapter 08: Abyssal Forest)
13. Unyielding (Chapter 08: Abyssal Forest)
14. Infernal Chasm (Chapter 10: The Forsaken Planes, Chapter 11: Hellbreaker, Chapter 22: Reckoning)
15. Hellspawn Rift (Chapter 12: Sentinel Command Station, Chapter 13: From Beyond)
16. Titanic Prison (Chapter 14: Spire of Nerathul)
17. Ancestral Beast (Chapter 14: Spire of Nerathul)
18. Transdimensional (Chapter 14: Spire of Nerathul)
19. Cosmic Sea (Chapter 15: City of Ry’uul, Chapter 16: The Kar’Thul Marshes, Chapter 17: Temple of Lomarith, and Chapter 18: Belly of the Beast)
20. Into the Void (Chapter 15: City of Ry’uul, Chapter 16: The Kar’Thul Marshes, Slayer Death Scene in Chapter 18)
21. What Lies Below (Chapter 17: Temple of Lomarith, Chapter 18: Belly of the Beast)
22. Battle on the Blackened Tide (Chapter 19: Harbor of Souls)
23. Steel Beyond the Grave (Chapter 20: Resurrection)
24. Rebirth (Chapter 20: Resurrection)
25. Divine Retribution (Kreed Maykr Phase 1)
26. Wither and Writhe (Kreed Maykr Phase 2)
27. Rebuild (Chapter 21: Final Battle)
28. Colossus Unleashed (Chapter 21: Final Battle)
29. Onslaught of the Damned (Chapter 21: Final Battle)
30. Theomachy (Enhanced Ahzrak Phase 1)
31. Blood Spill (Enhanced Ahzrak Phase 2)
32. The Prince (Chapter 22: Reckoning)
33. Between Hex and Flame (Ahzrak and Witch Phase 1)
34. Apotheosis (Ahzrak and Witch Phase 2)
35. He Is out There (Ending Music)
How does the Doom Dark Ages soundtrack compare to previous Doom game soundtracks?
Finishing Move Inc. didn’t try to out - Gordon Mick Gordon. They understood the world they were scoring: darker, older, stranger. And they gave it a voice that rumbles with dread, ceremony, and ancient fire. A new voice, in an old cathedral, still screaming with rage.