No offense but this is not music,
This is the sound of Wrath incarnate.
— Youtube comment about the game's soundtrack
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Base game
- Once again, Mick Gordon is back as Doom Eternal's soundtrack designer. And his music, right along with the game, has been turned up to eleven since the previous installment. This time, he brought an entire choir
of heavy metal vocalists to help him out with some of the music and let us tell you something, hearing those demonic sounding, foreign guttural growls and chants while battling hordes of demons or even when just exploring your surroundings is chilling. - The title theme, simply titled DOOM Eternal, a foreboding remix of "Opening To Hell," the original Icon of Sin theme with lots and lots of guitars. The very game itself starts off with a violently blood-pumping track, as well it should for a track once called "Opening To Hell."
- The Doom Hunter's theme, a pounding electronic soundtrack for the chaotic battle against cyborg monstrosities built only to hunt you down. The cybernetic throat-singing midway through the track is just the icing on the cake.
- The Only Thing They Fear is You, the combat track for ARC Complex, manages to encapsulate the entire feeling of demon-slaughtering in one song. For bonus points, it plays the heaviest part for the Marauder's first encounter.
- Super Gore Nest is the harder and faster brother to 2016's "Rip and Tear," making you, as the Slayer, want to decorate the Gore Nest with even more gore!
- Welcome Home Great Slayer is the ambient theme for Sentinel Prime, and is unlike all themes in the game that came before it. Incorporating an incredibly haunting violin and an intense synthesizer, it turns "Sign of Evil" into a tragic and sinister theme, hammering home how badly Argent D'Nur has fallen, just how evil the Khan Maykr is for enabling its demise, and summing up the Tragic Hero that is the Doom Slayer. The Fortress of Doom's ambience is a quieter version of this, making for a chilling and almost villainous background tune.
- The soundtrack for the Gladiator fight is absolutely insane. Amidst the heavy synths, you can hear the aforementioned choir, who were made to sound like an audience cheering the fight on and calling for blood.note Later on in the song, the choir gets even more fast-paced, as if they were shouting right in your ear!
- The theme to the Cultist Base takes no prisoners with its incredibly heavy and hard-hitting composition. Sandwiching a synth interlude, the drum and guitar combine to create a rage-inducing and frenetic song. The synth itself is reportedly an extremely distorted lawnmower, in a similar vein to Hellwalker's chainsaw pad. The perfect backdrop to the Doom Slayer destroying an entire outpost of demons.
- Getting to the BFG 10,000 hits you with immediate, mind-breaking awesome and intense guitar shredding that makes BFG Division from the prior game almost feel like child's play by comparison.
- Once you enter Exultia and Taras Nabad, Meathook smashes into your ears with some of the heaviest riffs this side of Argent D'Nur, giving you even more motivation to rip and tear through the hordes of demons.
- "Doom Hunter Base", or "Doom Hunted", takes "Cultist Base" to its natural extreme, sounding downright feral even by this game's standards, and may be one of the most rage-fueled tracks to ever come from Doom. Insanely fast-paced with furious heavy metal shreds and some of the most aggressive and rage-filled synths yet, it's topped off by occasional screaming demonic choir! To make the song stand out even further, this is one of the very few tracks that don't have any quieter cooldown periods, meaning that the track is non-stop ferocity from the literal second it begins.
- The ambient theme for the Doom Hunter Base. Rather than the fast-paced and chaotic riffs of the combat theme, it is a slow synth piece layered with ominous droning, heartbeat-like drumming and demonic chanting. The steadily-rising tension is perfect for a level that sees the Slayer scaling sheer heights and fighting through industrial facilities, witnessing the gradual assembly of the level's final boss along the way.
- Metal Hell is Nekravol's combat theme, immediately slamming into your ears with a hard one-two bass pound; it smashes into batshit insane territory in only around a minute. With truly sinister and vicious riffs aided by utterly screaming synths and mad guitar shredding, the whole theme oozes passionate rage befitting the City of the Damned, with a consistently bloodthirsty and evil tone that even the other tracks seemed to lack or have less of. The end has a long guitar solo that simply must be heard to be believed.
- The ambient theme of Nekravol, full of crescendos of what can simply be described as musical evil made off an incredibly ominous dun-dun riff across almost the entire theme. As one commenter puts it, it is best described as soft death metal.
- Voices of Urdak plays, naturally, in Urdak. It's so hauntingly out of place compared to the rest of the soundtrack that it really serves to give the place an eerie, unsettling vibe - befitting of Urdak's beauty contrasted to the heinous crimes it's built upon. It's even better when it plays at the start of the level, as there are no enemies whatsoever. At this point, you've ripped and torn through Nekravol with extreme prejudice and heavy metal, and when you get to Urdak, it's just...empty. A breathtaking, alien city completely devoid of life save for yourself, and the haunting music encapsulates the eerie tranquility perfectly.
- The Khan Maykr's battle theme, which takes cues from the Urdak leitmotif. More subdued than the usual boss music, but it still retains a good level of intensity while really driving home the unearthly, alien nature of the Khan and her machinations.
- Final Sin, the absolutely epic and incredibly oppressive final boss theme of the game that plays during the final battle with the Icon of Sin, combining epic orchestral with the heavy metal choir as the two titans battle, with a faint ticking in the background as if counting down as you face something that is the end of humanity.
The Ancient Gods
- Andrew Hulshult and David Levy take over Mick Gordon's place as composers for the DLC, but that doesn't detract one bit from the quality of the soundrack. Case in point, the battle theme of the UAC Atlantica Facility level, one of the heaviest in the whole Eternal soundtrack so far.
- The Blood Swamps. The nonstop chugging guitars and ridiculously heavy chord progression (courtesy of Andrew Hulshult) nail the grungy, oppressive atmosphere of this level as the Slayer faces some of the most difficult challenges in the entire game. Several times in the heavier sections, the guitars and drums create strains reminiscent of a chainsaw revving and idling.
- The Holt battle theme, in contrast to the guitar-heavy industrial metal of the previous levels in the DLC, consists of melodic synths and oppressive digital sounds that capture both the heavenly majesty of the environment and the corruption that Hell has wrought upon it. It even samples Mick Gordon's Urdak Leifmotif at points!
- The final boss theme of The Ancient Gods: Part One, nicknamed Shady Hayden, is an absolutely intense EDM theme incorporating multiple choir and some more incredibly heavy metal shreds, oozing semblances of horror, adrenaline and rage. An absolutely brilliant battle theme considering who you are fighting: the true form of Samuel Hayden himself.
- If the soundtrack for the first DLC proved Hulshult and Levy to be worthy successors to Mick Gordon's legacy, their tracks for Part Two made them legends in their own right. Case in point: The World Spear battle theme, which not only incorporates Hulshult's signature fast-paced chugging guitar riffs, but also features the return of the "Kar en Tuk" chant!
- Reclaimed Earth sounds like the Doom (2016) soundtrack on steroids, with some of the heaviest guitar riffs in the whole DLC playing nonstop, and sampling what sounds like a raid siren at points!
- Immora is adrenaline incarnate, beginning with an amazingly oppressive and climactic opening hook, and maintaining the feel across the entire track. It screams finality right into your ears, with even the infamous "RIP AND TEAR" chanting coming back for one last hurrah, sounding more passionate than ever before.
- And for the grand finale... Davoth. The Final Boss theme of Ancient Gods Part Two, Andrew completely lets loose and puts out all the stops. For the first half, the track gives off a truly climactic feel, consisting of fast paced heavy metal, ruthless synthesizers and haunting chorus. The second half is even more intense even with the lack of heavy metal, making way for ethereal, choir-laden techno that reflects the nearing end of the final battle. This is also the only Hulshult-Levy track with Call Backs to classic Doom tunes such as "Dark Halls", and also to Mick Gordon's tracks - particularly sinister redos of "At Doom's Gate", "BFG Division" and "Phobos Base", all appropriate for the Dark Lord's role of your Evil Counterpart. As the track that closes out the current story of Doom, it also perfectly summarizes what the franchise is all about - non-stop action, ultra-violence, pure awesome.
