Lets Talk Metal
Jan 19, 2021 at 10:15 AM Post #27,586 of 28,702

OlosAftia

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It’s maybe considered 1/2 Gordon’s. There was a high profile falling-out with the game developers? Them asking a lot and having the music processed further before the release of the game/OST, with a little in-house development. So, I haven’t counted but the tracks are individually credited. Still great though, if you are into that style of genre. To me it’s the best one?

Well my favs from the record were Mick's babies so to speak. Frighteningly chunky sound, like a wall of guitars crushing down on you.
 
Jan 19, 2021 at 10:25 AM Post #27,587 of 28,702

Redcarmoose

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Well my favs from the record were Mick's babies so to speak. Frighteningly chunky sound, like a wall of guitars crushing down on you.

It’s sad there will not be another? Yet still this album does have a unique and special sound. I’m not sure anyone could go and easily find another album that’s even remotely close to it, except the previous one. A small progression forward never yet obtained before. It’s not stale or noticeably derivative of anything before really. IMO

In addition, like the one before it, it has become kind of a test record to see where equipment can go, to push the limits of gear. IMO

Obviously the production is not consistent, which will always make it far from perfect. There will always be a question of what could/would have been. The fact that the album delayed the game, the guess that maybe such a soundtrack was too big of an endeavor to start, the fact that too much quantity was required? That maybe really this style of music is rare and compact and can’t be made to be all that spread out and time consuming? What ever the album is, it is that, it just is what it is now. Though some make playlists.......... I’m sure of it, to cut the weaker parts out.

Much of the songs are maybe best inside the game? But that pace at times and the whole abruptly changing/positioning of musical elements make it a novelty...like the prior album......but new and cool?

I guess someone could just reduce down a “Gordon” album from it all? Maybe that’s the only logical way to listen to it and view it? Sadly it will never be in it’s entirety an artistic statement (like the past record)...........it’s destiny is to be a game soundtrack.

In a way it’s a product of an artist being kept chained to a corporate vehicle agenda. This album doesn’t belong to Gordon and he can’t make us his version. It’s in a way like when David Axelrod was put in charge of making the last two “true” Electric Prunes records. Only the brought in talent has no talent?
 
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Jan 19, 2021 at 10:51 AM Post #27,588 of 28,702

OlosAftia

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It’s sad there will not be another? Yet still this album does have a unique and special sound. I’m not sure anyone could go and easily find another album that’s even remotely close to it, except the previous one. A small progression forward never yet obtained before. It’s not stale or noticeably derivative of anything before really. IMO

In addition, like the one before it, it has become kind of a test record to see where equipment can go, to push the limits of gear. IMO

Obviously the production is not consistent. Much of the songs are maybe best inside the game? But that pace at times and the whole abruptly changing/positioning of musical elements make it a novelty...like the prior album......but new and cool?

Agreed completely on that first sentence.

Part of the appeal, I believe, is that such an approach to the metal sound would not have been possible had it not been for the whole 'soundtrack' approach - i.e. about making the sound work in the context of a fast-paced, demon-slaying adrenaline-pumping video game, without having to follow conventions such as e.g. writing music to potentially fit vocal patterns, or being forced into the verse-chorus-verse structure.

So my interpretation is that while Gordon inevitably had to follow OST conventions while using a modern metal sound (some songs only making sense inside the game, pace potentially feeling 'off' etc), he was pretty free to discard any metal conventions that he might have felt did not 'work' for his vision. As such, Doom OSTs felt even more unique and special when looked at from a 'metal' angle. Not sure they made the same impact on non-listeners of the genre.
 
Jan 19, 2021 at 11:04 AM Post #27,589 of 28,702

Redcarmoose

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Agreed completely on that first sentence.

Part of the appeal, I believe, is that such an approach to the metal sound would not have been possible had it not been for the whole 'soundtrack' approach - i.e. about making the sound work in the context of a fast-paced, demon-slaying adrenaline-pumping video game, without having to follow conventions such as e.g. writing music to potentially fit vocal patterns, or being forced into the verse-chorus-verse structure.

So my interpretation is that while Gordon inevitably had to follow OST conventions while using a modern metal sound (some songs only making sense inside the game, pace potentially feeling 'off' etc), he was pretty free to discard any metal conventions that he might have felt did not 'work' for his vision. As such, Doom OSTs felt even more unique and special when looked at from a 'metal' angle. Not sure they made the same impact on non-listeners of the genre.

That’s the thing, these records ARE going to be heard by non-metal listeners, who will obviously start on them from a different direction than us. Also kids......lol. 10 year olds will hear this!
 
Jan 28, 2021 at 6:44 AM Post #27,594 of 28,702

OlosAftia

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The old stuff is where its at imho-played their first 2 cds last month .

Both firmly in that elite category of 'unskippable' albums often listened to in their entirety.
 
Feb 2, 2021 at 9:57 PM Post #27,595 of 28,702

SomeGuyDude

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Brodequin-style death metal



Literally a minute and a half of goregrind with seal noises



And some gloomy black metal

 
Feb 9, 2021 at 4:42 PM Post #27,600 of 28,702

Dim666

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:metal::metal::metal::metal::metal::metal:
 

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