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Awesome Music / Doom

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  • At Doom's Gate, a simple, effective, and powerful fast-tempo track, great for starting off your day at UAC with filling a zombie's face with pistol lead. It has also become synonymous with the series in general. Not bad for a Metallica influence.
  • Nothing says facing your potentially final challenge more than Sign of Evil, the theme of E1M8, a grim droning melody that plays undauntingly even when you're in the fight for your life against the Barons and their Spectre hordes on Ultra-Violence. The song itself even sounds like it's telling you in no uncertain terms that you're going to die even if it's going out swinging.
  • Nobody Told Me About Id, the theme for E2M8, is a slow-building theme encapsulating the shock and awe you get when you first lay eyes on the gargantuan Cyberdemon in that huge open field, and then into a proud, unyielding tempo as the two of you get down to one big, great rocket duel.
  • Hiding the Secrets plays on E1M9, E3M9, and E4M9, and is a loud ass-kicking melody also all but congratulating you for looking high and low by giving you a whole new playground to mutilate demons in.
  • Kitchen Ace (And Taking Names) for E1M4 is one hell of a blood-pumping hard rock tune, all parts of which seem expertly timed to a chaingun's firing rate. And you just so happen to find one on this level as well!
  • Intermission From DOOM serves as the end of level results theme, both congratulating you for a job well done and getting you ready for the next round of wholesale demon slaughter. And when it works as level music in itself in Episode 2, it's all but saying a competent player has already won.
  • Sinister fully lives up to its title - quite possibly the most oppressive track in the game, this is not the music you want to hear when prowling the dark, gloomy labyrinth of this level, being caught out of nowhere by a Baron of Hell suddenly jumping out in front of you. The Super Nintendo mix of the track also captures the sense of tension while delivering its own take on the track.
  • They're Going to Get You, from E2M4, particularly the MSDOS OPL rendition. Probably the single spookiest track in the original DOOM, it has "Psycho" Strings playing constantly and has the feel of a Slasher Movie to match the Bleak Level it takes place in. MIDI version here.
  • You might not have a good time on Slough of Despair, but its main theme, Donna To The Rescue, keeps your spirits up while also sounding like it's clear how now things are equal between you and the demons and they're going to give you all they got. Better pray the Id Mom herself comes to rescue you as the title says.
  • Dark Halls is among one of the more atmospheric tracks in the game, giving a calmer, albeit far more tense feel. And get this - you're still rather early in the game, and the music's already shifting gears this constantly, dumping one iconic song onto you after another. A gorgeous sign of what's to come!
  • The Imp's Song is an intensely menacing track, immediately taking the soundtrack to a darker turn after the legendary At Doom's Gate. Even with the dark tone, it still has a good beat, giving the feel of some sort of a demonic nightclub song. But even in spite of the march of the demons blaring in the background, you know it won't do a thing to save them from the real monster - you.
  • Suspense is a very tense theme which plays in the abandoned Phobos Lab, and much like a few other tracks it goes for a more Slasher Movie vibe - and it nails it, sounding almost sinister even as you shoot up hordes of demons, telling the player that they have a long, long way to go. This song was so infamous that it became the Big Bad's Leitmotif in DOOM (2016), and it winds up being a perfect fit.
  • Episode 2, Mission 9 (or E-3, M-1 if you never found Episode 2's secret level) literally called "Untitled." Yeah, it's a ripoff of a Pantera song, but it doesn't matter. That riff. Kicks. ASS!
  • Facing the Spider (E3M8) is the Final Boss theme of the game, and hot damn does it sound climactic. It starts with a slow, imposing chord...before jumping right into high gear, going into a fast-paced, intense track that truly befits a final showdown against the Spider Mastermind. While not as iconic as other songs in the game, it's still definitely one of the best just because of how perfectly fitting the track is.

    Doom II 
  • Running From Evil is an excellent starting track for the game, setting the mood with its driving beat and Ominous Pipe Organ.
  • Message For The Archvile will indeed make you want to send a message to those accursed Archviles...a message full of lead, of course. This track is one of the more metal-based ones, starting off dark and pounding before slowly graduating to having a badass guitar solo.
  • Getting Too Tense, used in MAP28 of Doom II, 'The Spirit World'. Its martial beat and ominous synth tones truly make you feel like you're getting close to the climax of the game.
  • Waiting for Romero to Play, which sounds like "This Love" by Pantera. Its tense and atmospheric feel goes great with MAP 27.
  • Into Sandy's City, one of the most memorable tracks in the game, in no small part due to its use of harpsichord. Some regard this as the signature track of the game, even above "Running From Evil".
  • Opening to Hell is the theme for the Icon of Sin's map. It's strikingly minimalist compared to the entire OST but what's there is low, all-encompassing and pissed at you considering you're now facing the monster that can spawn every possible demon at you. A final battle track that nonetheless promises you pain and pandemonium like nothing else in Hell. It's no wonder it got remixed for DOOM: Eternal.
  • Evil Incarnate plays for the Wolfenstein bonus level, and was conceived through Bobby Prince watching a film centered around Josef Mengele. Its extremely oppressive tone combined with what sounds like armies marching is a perfect match for one hell of a catharsis - you killing Nazis.
  • Endgame is a dark yet triumphant orchestral piece that plays after MAP 30, finally epitomizing the fact that not only was the Earth saved for good and that life will thrive again, but in the end, the forces of Hell were no match for the ultimate monster, the unstoppable beast that paves his way with the blood of the wicked. In the end, the only thing they feared was you.
  • The Dave D. Taylor Blues. Perfect for fighting a Cyberdemon while under the effect of an invulnerability powerup.

    Doom (2016) 
Demons are red,
Plasma is blue,
When the beat dropped,
My empty magazine did too.
— Youtube comment about the game's soundtrack

id Software got Mick Gordon to do the soundtrack, and it is awesome indeed.

  • Hellwalker, the glorious menu theme that is based on a few tracks from the originals.
  • The game's title theme. Take E1M1, remix it, and make the main instrument a synthesized chainsaw, and you get some of the most badass title music you'll hear.
  • Damnation, mixing Industrial and Metal with some demonic choir for the perfect soundtrack to the Hell levels.
  • Transistor Fist is a fast and vicious track with an awesome metal riff, and bassy synths booming in your ears even in the cooldown bits. Pay close attention and you'll pick up a badass Call-Back to "Kitchen Ace (And Taking Names)"!
  • The Beginning, played upon acquiring the Praetor Suit and getting into your first big fight. Welcome back, Doom Marine.
  • At Doom's Gate, the music for E1M1, the first stage of the original Doom game remixed and done justice. It's made even more badass when the Doomguy's Dramatic Gun Cock synchronises with the last two chords of the song at the beginning of the level "The UAC". It returns for Eternal, closing out the events of the game with something rather appropriate: the defeat of a resurrected and upgraded Icon of Sin.
  • Rip & Tear and BFG Division are standout combat pieces, with the former having some of the most aggressive metal you're likely to hear in a video game, and the latter having some of the most blood-pumping guitar riffs and instrumentation in the game's soundtrack. The former sounds like Slipknot, whereas the latter has clear Meshuggah influences, both also having some Fear Factory on the side. "BFG Division" seems to have become something of the game's signature song, being used in commercials for the series since, and is the only 2016 song to make a full gameplay comeback in Eternal, during the only real fight in the Fortress of Doom.
  • DAKHMA is a haunting piece that brims with despair and sadness. The fact that it only plays in Hell after killing all the demons in an area indicates that it's the demons of Hell mourning the deaths of their brethren while fearing they will soon join them. Knowing that makes the song even better as you feel like you truly are a demon's worst nightmare.
  • Mastermind, while not including heavy guitars, is a hellishly intense piece of Industrial/Glitch that even incorporates an even much darker version of BFG Division, fitting for the Final Boss.
  • Hell Guard boss battle theme is just as intense as the fight itself while being a remix of the music used in the QuakeCon 2014 and E3 2015 demos.
  • Authorization; Olivia Pierce, the remix of E1M5's "Suspense" which is played when you see the Big Bad for the first time. It's downright chilling.
  • SkullHacker provides eardrum-shattering Djent riffs throughout major fights.
  • Cyberdemon boss fight theme nails it as another piece of Industrial, sounding very imposing and outright primal at the same time. When passed through a Spectrogram, the beginning sequence of the song is revealed to contain several Pentagrams and 666'es which tell you enough about all the attention paid to detail.
  • Flesh & Metal. Just...yes. It features quite possibly the heaviest and intense metal beat, using Doom 3's menu theme in a glorious way. It's a masterpiece.
  • The official soundtrack was released. If anything, the mixes on the soundtrack are even more awesome than the in-game ones, and are broken down by chapters of the Slayer's Testament for extra atmosphere.
  • It may be a Filk Song, but we'd be remiss to not mention Hell To Pay by Miracle of Sound. This song is pure molten-metal awesomeness and serves as a fantastic reminder of just why this game is great; 'cause it revels in the hyper-violence and Rated M for Manly set pieces.
    Keep rushing and a running, running
    The drumming of the buckshot pumping
    Got molten metal in my veins
    (click click boom boom)
    Keep rushing and a running, running
    A reckoning of lead is coming
    I'm kicking in the gates of hell again
  • Similar to "Hell to Pay", we have JT Music's rap, "Fight Like Hell". A dramatic, cinematic underscoring begins it, and it only gets better from there, with an epic chorus and rap verses that could compare to Eminem in ability. The song was remastered in 2019.
    They told me to go to hell! So you know what? I did!
  • They later brought Doomguy back for a rap battle, having found him a Worthy Opponent. The song makes it pretty clear who's the winner: Doomguy.
    Doomguy: I gotta hand it to you, Chief, you'll be my greatest GLORY KILL!
  • The Game Awards 2016 featured a live performance of the game's soundtrack by Mick Gordon, Sonic Mayhem, and Matt Halpern. It is every bit as awesome as you could imagine it. As an extra bonus, they also briefly perform "Descent into Cerberon" from Quake II.
  • And this is all made even more badass when you realize that Mick Gordon was doing Doom covers back in 2005 for the fun of it. That's pretty much the definition of living the dream.

    Doom Eternal 
No offense but this is not music,

This is the sound of Wrath incarnate.
— Youtube comment about the game's soundtrack

  • 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 both sounds tragic and sinister; hammering home how badly Argent D'Nur had fallen, just how evil the Khan Maykr is for enabling its demise, and furthermore sums 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 Hunted is one of the combat themes for Doom Hunter Base, essentially an even far angrier version of Cultist Base. It also winds up being one of the absolute most intense, chaotic, downright ferocious tracks to ever come from Doom. Insanely fast pace with furious heavy metal shreds and some of the most aggressive and rage-filled synths you might ever hear, 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. If you can only hear one Eternal song, make it this one.
    • The ambient theme for the same level. Rather than the fast-paced and chaotic riffs of the combat theme, it is 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.
  • Miracle of Sound follows up on "Hell to Pay" with yet another Filk Song, this time for DOOM Eternal. Big Guts and Bigger Guns perfectly captures the frantic fast-paced feel of the game.
    Straight down into hell I run
    Big guts and bigger guns
    My dire work is never done
    Big guts and bigger guns
    I'm gonna rip it up
    I'm gonna rip it up
    I'm gonna rip and tear
    Don't get in my way
    I'm gonna rip it up
    I'm gonna rip it up
    Rev up for doomsday
  • JT Music released a song for Eternal as well, Home to Hell, collabing with Andrea Storm Kaden. The main verses are JT's typical metal Badass Boasts, with ASK's verses being more melodic, sounding like prayers, possibly as a reflection of Dr. Richardson's logs, which are almost prayers themselves by the last one.
    I am your nightmare, I am infernal
    I'll strike fear in you, 'cuz fear is universal
    I'm an amalgamation of Hell's nine circles
    I am your Doom, I am Eternal
  • Doom Crossing: Eternal Horizons, yet another Filk Song, is probably one of the best things to come out of the Doom/Animal Crossing crossover memes. The song manages to capture both the peaceful tone of Animal Crossing: New Horizons and the badassery of DOOM Eternal.
  • 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.
  • 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.

    Other Games 
  • The Doom 3 heavy theme. Reason being that besides the startup, you'll only ever hear it again when you're victorious, and almost invariably at the end of any Doom 3 mod episode too. It's effectively an awesome music of crowning.
  • From TNT: Evilution, we have Sadistic, Death's Bells and Into The Beast's Belly. The music from MAP14 (Steel Works) may not be the best song ever (mainly because it's a short, cool-sounding riff surrounded by several minutes of dull bass), but its remix by TheWeekle manages to make it epic. Legion of the Lost, its intermission theme, is probably the most peaceful (and saddest) Doom track ever made!
  • Doom 64 may not have much in the way of rocking tunes (only the opening and ending themes could be considered traditional music), but what it does have is an incredibly creepy and atmospheric ambiance that really helps set it as the most Survival Horror-y game in the series until Doom 3 came along (especially when you reach Hell). Here's one of the creepier stage themes if you need an example.
  • The intro theme to Doom PS1 is so damn epic that many cite it to be the true theme song of the series, being a very dark and sinister take on your typical "heroic triumph" orchestral theme. This track appears in any Doom port or game that has Aubrey Hodges' music in it, meaning that it's on Final Doom and Doom 64. It's even better when it plays at the end of 64, becoming a perfect capoff for the original trilogy, In the end, the one who saved Earth from Hell was no hero or man - but just something that happened to be worse than them. The embodiment of DOOM.
  • The pinball adaptation of the DOOM reboot doesn't just play like the game, it also sounds and speaks like it too, drawing upon Mick Gordon's well-scored soundtrack at appropriate moments. Several examples:
    • Enjoy hearing the high-energy "At Doom's Gate" when you're in lockdown during a mission where demonic presence hits unsafe levels, and you have to fight your way out to keep going.
    • When you've started the "Hell on Mars" side mode, the table glows red with terror - and the heavy-metal rage of a sample of "Rust, Dust and Guts" befits the peril that awaits as demons assault you.
    • The rocking energy of "Harbinger" keeps the mood tense in the "Observe, Repeat" mission as you try to remember several hologram trails that flash on the table and try to get the ball through them to escape the facility.
    • Escaping "The Pit"? Let the passive, but rising, frightening tune of "Incantation" guide you as you ascend it level by level.
    • Activated a 2-ball multiball (Super Shotgun or Experimental)? "RIP & TEAR" for some high scoring action!
    • Who knew that the screaming, loud and fast-paced "BFG Division" could work as a victory celebration for defeating the Cyberdemon, or great background music for a 3-ball Deathmatch Multiball round?

    Ports and remixes 

  • The mod Back to Saturn X has plenty of original, great tunes. To wit:
    • Entering. The very first map, and it's got a very touching and sentimental track.
    • Liquid Luck, which alternates between a mellow, moody tune and heavy rocking.
    • Faultline combines heavy metal guitar riffs and haunting atmosphere together with some sick bass work to create a work of art.
    • 24. It may not be fast-pumping heavy metal, but it manages to sound mysterious, beautiful and a little tense.
    • The haunting and mysterious Mystproj.
    • Scattered Ashes. Someone described it as sounding like a badass cowboy theme, and it's an apt description.
    • The highly intense Ominus.
    • Birdsong starts off as an atmospheric song with an uneasy mood... then about the 1-minute mark it becomes a tense, gloriously oppressive tune.
    • Atomic, a hard-driven metal tune perfect for pumping you up for the demon slaughter to come in the super secret level of episode 1, with two solos halfway through.
  • Requiem also has plenty of underrated gems:
    • Rage.
    • The mysterious, haunting Under Death.
    • Lordly Might plays on the tenth map to amp you up, which is helpful because before the end of the level you will have your first showdown with a Cyberdemon.
    • Mesmarine plays at the intermission screen, on the first secret level and on the thirteenth map. And the thirteenth map has plenty of monster ambush spots, which fits - even more so if you're playing at the highest difficulty.
  • Icarus: Alien Vanguard is one of the megawads that excels in soundtracks.
    • Recapture really sets up the mood for the first stage and retaking back a shuttle so you can use it to travel towards the eponymous space ship. And at the end, you can hear The Demon's Dead from Doom II.
    • Map 04: Engineering gives off a perfect sci-fi feel and the feeling of unfamiliarity, since you're millions away from your home planet.
    • Map 10: Slow Evil. Slow as the title says, but still great enough for firing through hordes of demons.
    • Map 11: Feeding Frenzy. This map has lots of enemies, and the tendency to encounter hiding Chaingunners and other monsters around the corner makes this map frantic as hell (pun intended). But thanks to this song, you can turn that frantic feeling into a helpful rage.
    • Map 32: Prestidigitation. A nice short relaxing jazz track for a short easy stage (the stage has more goodies than enemies, and the enemies and their placements aren't that hard).
    • Map 12, Hydroponics. The demons really ruined Icarus. The song tells you that you should make them pay for that! You can hear some parts that will make you think of space. Yeah, Doomguy has been into space but not that far away. You're actually near Beta Pictoris.
    • Map 25, Another Fine Mess. Ever wondered what would Thriller sounds like if it was remixed modernly and with beeps properly? This is the result.
  • Valiant: The song "Dark Angel", which begins slow but quickly turns into a frantic tune while you dare the challenge of MAP09's "14 Angrier Archviles".
  • Jenesis: "Sunset Over Babylon", a mysterious-sounding, exotic, grim tune.
  • STRAIN: "TechnoDoom", a fast-paced dynamic song. Composed by the same guy who composed the music on Requiem. And "Promenade", which has a bit from "Running from Evil" from the original Doom II, and it gets pleasingly melodic in the middle.
  • Memento Mori II: "Give In (With Pressure)", a great relaxing upbeat tune. The same description goes with "Nothing So Cruel", and "Backroad Wanderer".
  • Ancient Aliens:
  • Resurgence actually has its own overarching Leitmotif: it starts in the main menu, grows more intense on the story text screens, and culminates in the last level with a track aptly titled "The Resurgence".
  • "Quickfast" from Sunlust (originally composed for NOVA: The Birth), a song fit for an epic voyage with an uncertain end.
  • Almost the entirety of Quake Champions: Doom Edition counts, courtesy of Michael Markie. Here are the standouts:
  • Sunder's MAP32 music, "Aorta", a fantastic, gloomy and oppressive tune. It was originally composed for Panophobia, an in-progress mod themed around phobias and fear, and it fits the "fear" atmosphere very well.
  • "Eviternity", the bombastic grand finale to the mod Eviternity. As a bonus, it's deliberately composed to go into high gear right at the moment the giant demon horde is revealed.
  • John Romero's very own unofficial Episode 5 for the first game, Sigil, gives players a choice between a MIDI soundtrack by James Paddock and a full-on heavy metal OST by Buckethead. If you go for the Paddock music, the very first level sets your ass ablaze and gets you rearing for all new demon-slaying action with "Hate Machine", a rip-roaring dark metal piece designed to start your adventure in Sigil off with a bang.

Alternative Title(s): Doom II