If I'm being honest, I really wanted to do a soundtrack ranking of Memento Mori for the longest time. Like many other great megawads, Memento Mori had an absolutely kickass soundtrack, one I just couldn't stop listening to as Mark Klem gives his own blend of awesome Doom music that stands in contrast to the classic Bobby Prince tunes. And even with that particular case, Klem does manage to capture a new Doom feel with the tracks that got their start in Memento Mori. Although these tracks do get reused in the megawad often, it's just like the real Doom games, they get reused throughout and work fine more or less in each and every map. The thought always counts!
18. Title track
As always, the title track brings up the rear. It gives some wonderful tension in the percussion, but so do a lot of other tracks and they are longer. One day a title track will not be the last track, somewhere.
17. Intermission track
And again, intermission track, despite being heard often, isn't far behind. It probably is the only track in Memento Mori aside from the title track that probably won't fit in any level. It's still nice for an intermission track though, so I gotta give it that. Plus the intermission screen is one of the cooler ones that has aged well.
16. Untitled MAP13 track
I honestly don't know how Klem himself feels about this track. It only plays in one level, The Inmost Dens II, and isn't particularly that good in comparison to all its contemporaries around it. Plus I don't think I've heard this track anywhere else all that much. Not having a title is also a mark against it. But if we were to really talk about it, the track is heavily percussion-driven, particularly in cymbals, and it works well for the urgency of the map its in.
15. Slipslider (MAP08)
This track's name is one that either fell under the radar at some point, or Mark just sort of retroactively gave it a name. In any case, it's one of the funkier ones, not heavily used (only once in this one level), but that funk works out well enough in my book! Although I've listened to it several times, it's never really one of the ones that grew on me though.
14. Dreadnaught (MAP02, MAP17, MAP28)
Very slow track, just builds up with the percussion before the really brassy middle part which is the melody. Still though, one thing that makes slow tracks work is the creep value, and this one just sort of creeps into dance-like music rather than something actually spooky. Fits for a Halloween party!
13. Terror (MAP06, MAP20, MAP30)
Probably the shortest non-intermission, non-title track here. It provides spooky in what almost seems like a major key of sorts. Pay attention to those orchestra parts, they're the best thing about this particular track overall. I'll admit when I was young, I just played that part on a violin for fun, even though I've given up on that instrument long ago.
12. Master (text music)
Holy... Man this is a GOOD text screen track, unfortunately more or less wasted since Memento Mori never had custom text screens at all! I really think this is one of the most melancholy works ever made, with exceptional guitar work and even a bird chirping. It truly is a shame this one never got much in mileage. I outright think it rocks.
11. Gerbert (MAP14)
Here's another song that feels much happier than it should be for a Doom map. Although I associate this track and others with Memento Mori itself, I think I recall first hearing this track in some other WAD that I cannot remember the name of. The brass drives this adventurous song, but the main melody, which gets a couple variations, feels neat too. It even has an ending segment. A real treasure.
10. DLA (MAP03 and MAP27)
What is a DLA? Even I don't know. What I do know is this is a rad rocking track, well done with guitar work and bass to make it seem like it would fit right in with Bobby's metal-inspired tracks. Blood pumps best with rocking tracks with beats like this, and I appreciate this particular music track in any particular case.
9. Scary 1 (MAP04 and MAP26)
The quietest track out of all of them. But it is surprisingly awesome. Sure, it takes a while before this percussion-driven track hits its stride, but it feels like a death march, and you just know it once the beats start kicking in. Plus, it fits its title to a tee, and this is some ACTUALLY scary instrumentation, not the one that would fit a regular ol' Halloween party mood.
8. Scary 2 (MAP12 and MAP23)
Fundamentally different from Scary 1, Scary 2 actually tries for that spooky-yet-fun Halloween mood at first with much more unique instrumentation, sounding nothing like its predecessor but still fitting well into the Doom mold. But you then feel that rush, like the main Scary 1 melody just went on steroids, and it just screams urgency. Absolutely fitting especially for the slaughterfest known as MAP23.
7. Galaxy (MAP05 and MAP16)
Of the original Memento Mori tracks, Galaxy is perhaps the most surprising with its mileage. Honestly, apart from MAP05 of Nova 2 I haven't heard this track in other WADs all that much! For shame! It's an interesting mix of church bells with kickass rock tunes, heavily guitar-driven, a few crazy solos and incorporated melodies, all with adrenaline in mind. One of Mark Klem's most underrated treasures.
6. Slipper (MAP09, MAP25, and MAP31)
Mark Klem had renamed this track into "Scooby" in his Soundcloud page because the main melody seems to take after the classic Scooby Doo theme. Who would have known? But Scooby or Slipper, this is yet another sweet rock song, actually more into the rock feel rather than the more metal feel Galaxy had. Melodies are more recognizable and hummable, and even the part where the song slows down feels great. Pump that mystery machine!
5. Mummy Rags (MAP11 and MAP21)
I didn't expect this song in the Top 5, but it always feels the cutest of the tracks in the Memento Mori soundtrack. The melodies here are simple and driven by various instruments, but the orchestra parts probably shine the most. A well done track fitting most any Doom level, one that has seen many uses too. Frankly, it's one of Klem's more relaxed MIDIs, while the other tracks around this one promote urgency, you can sort of take a breather with this one. But it still serves some spooks.
4. Triangle of Fear (MAP15 and MAP22)
Another percussion-driven track that gives you constant urgency. I mean, those cymbals, man. Makes you paranoid for what you're going to expect. Hearing the rest of the instrumentation with the wavering notes before the horns start blaring the most recognizable part of this song, and then the rest of the percussion, as well as a guitar part, really drive this song further home. A spot for the Top 5 is most-deserved for this track!
3. Night Bats (MAP07 and MAP19)
As slow as Dreadnaught and Scary 1, but BETTER. The one-two punch you'll be constantly treated to with the song's opening notes, plus the completely haunting ambience put this at the high point of Klem's instrumentation. What's not to love? Sure, the song is quite long, but well worth it for the last few melodies, especially that creepy folkish mandolin solo (or whichever instrument that is). Truly enjoyable.
2. The Wind (MAP10, MAP24, MAP32)
The Wind is quintessential Mark Klem, easily one of the most somber and well-made Doom MIDIs ever written. Haunting beginning, haunting main melody, slow, cinematic-sounding, with its accompanying death march and bass-driven part, with a fun little horn solo section thrown in. It's like Klem couldn't decide what would make this MIDI kick the most ass so he went with everything and it worked super well. It's even the accompanying music for those who are reading the infopack. That shows you how well people cherish this MIDI.
1. Hidden Anger (MAP01, MAP18, and MAP29)
And finally Hidden Anger. This is also quintessential Mark Klem. If The Wind was the quintessential Mark Klem for those looking for ambient and spooky songs, Hidden Anger is quintessential Mark Klem for rocking badassery. Bass-driven, accompanied by a proper guitar section, and those horns may seem like a nod to ROTT, but the sound is so original and works extremely well for this song. Sure it's over much quicker than you'd expect (not really), but you cannot deny that this track is a classic. It's used in many WADs for a reason, and I've even seen a Wolfenstein 3D mod use this track!
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