It's obvious I needed to get to this at some point, but having coursework pretty much all of July will do that to me, that and a few other commitments that even though I got a head start on (like playing FFX) I still took forever to do. Anyways, I think it's pretty obvious to most hardcore fans of Doom WADs that Memento Mori II has an exceptional soundtrack. It goes back and forth between two excellent composers, Mark taking the odd numbers and David Shaw taking the even ones, providing the perfect music that gives you the perfect feels for each level. A soundtrack which has had its tracks used quite often around many other WADs. It's going to be extremely difficult to grade this, since most if not all tracks are great!
35. Intermission Music
Well this is a gritty and grungy intermission tune. I highly preferred the first MM's intermission to this, feels much more memorable. Mark doesn't make bad tracks though.
34. Before The Storm (Title)
Memento Mori 1 pushes you right in with its title track, so it's appropriate that MM2's title track does the same thing. It's not a Mark Klem track, but David Shaw's guitarwork here is enough to show that you'll be playing this WAD with the right amount of action. With those different marines on the title screen, it definitely fits the coop mold. That being said, it is a title track, so it's short.
33. Perchance to Dream (Story)
Relatively mellow for a storyline theme, though of course MM2 didn't have custom text intermissions, which kinda sucks the fun out of this one. Master just beats this in every way too.
32. Mizshunn Impassable (MAP32)
I was never ever a fan of the original Mission Impossible theme, even for a thriller movie series, it never sat well with me. Or maybe I just don't like hearing movie themes in games? With this said, David provides tons of variations to a familiar tune, that way it's not as boring as, say, the one in Duke Nukem 3D. So it passes.
31. Anchor (MAP05)
It's an interesting mix of major and minor-key notes around, with one notably fun section near the middle. Super catchy as you might expect. But Mark's grungier and grittier tracks are much cooler by comparison, this one feels like it comes out of Rise of the Triad. Not a bad thing there either, but then again it just doesn't feel like a Mark Klem track. Maybe I just hate the way it loops too. That being said, it's probably Mark's second most popular track after Hidden Anger.
30. Sacrifice (MAP20)
Alden Bates' The Experiment was always a super strange and weird level to end the second third of MM2, and to complement that is this strange track that really does fit in some sort of science experiment. How appropriate! But it never really took off outside of MM2 for some reason, strange. Peculiar is all I can really describe it at this point. Fun here, but probably not fun elsewhere.
29. Shadows of the Dead (MAP27)
The problem with this one is it takes a while to get going, and when it does, it's all drums. It needs to pick up the pace. But thankfully, it does once you hear that choral voice-like part. And it's gorgeous. The drums definitely keep the suspense overall, but the opening of this track sort of makes you wonder what to expect longer than necessary.
28. Fear's Falter (MAP18)
Fear's Falter doesn't get a whole lot of mileage outside Memento Mori II, and it's both easy and hard to see why. It's easy cause in a way it's easy to forget about the song once you reach the halfway point, with the beats being a bit more boring than the urgent-sounding stuff before it, and hard because those urgent beats in the beginning plus the instrumentation breakdown are so good. Never was a bad song by any means, though.
27. Bavor the Mad (MAP31)
I sure feel the funk in this one. When Mark isn't all gritty and grungy he funks you out with bass work that just owns. Even the melody has that disco groove. It's a bit like Anchor but with significantly less mileage. But I like it all the same.
26. Unsteady Ground (MAP08)
And here's where David Shaw gets his rock groove on, as opposed to the more atmospheric rock tracks he has this one is just straight up rocking. Fitting for the short level it's in. It sort of slows down at the end and loops weirdly, but I've heard these licks multiple times and they still get me.
25. Disposition (MAP09)
Mark wants you to really dig this bass riff! It's a pretty badass Doom-y riff alright, with plenty of instrumentation that creates new variations of it all. With this said, the riff is throughout the whole song, and can get old especially with the long level it is on. Mark sure had fun with it though.
24. Peaceful Altercation (MAP06)
Another really strange track by David Shaw, which at least keeps the "peaceful" aspect going. It's sure a strange one to place in any Doom level, as it feels serene at first, with lots of instrumentation to keep the melody going, even when it goes crazy. Those guitars sound dissonant but strangely fit the track, and that's not even getting to those trumpets. Not quite ROTT-esque there, but no need for it.
23. Mirage (MAP23)
Much like Disposition, Mark does a riff and sticks with it throughout the whole song, adding variation after variation with multitudes of instrumentation. It's a lot like Disposition in that regard, but much more gritty and grungey. I'll be using those words a lot, deal with it.
22. System Shock (MAP12)
Talk about underused! This is probably the one track I can think of that should be more used in other WADs. And to be honest, I don't know exactly why! It's super strange, the opening notes are a lot like Into The Fray's beginning, but then it delves into the usual guitar work, which is quite unique. Plus all the doots that come after it, creating a swanky melody throughout. This track needs more recognition, for sure.
21. Dance of the Sugarplum Lunatic (MAP30)
Now Mark is doing a rather familiar Christmas tune, one that offers as much mystery as it does fun. And of course, puts in numerous variations to turn it into an absolutely appropriate Doom tune, things get to minor key quickly, and even the melody takes a notable dip that is sure to catch your attention right away.
20. Damage Assessment (MAP13)
One of several Mark Klem tracks to feel like it's all over the place, this one has a relatively slow bass-y start before more chimes start to kick in to provide an additional melody. Both of these, and the drums, are generally constant. Then you got the middle portion which gives trumpets! Then after that, a shift in melody with chimes taking over, then an amalgamation from the previous! Then grungy guitars! A lot to take in and a fun track overall.
19. Junkie Smack (MAP29)
No really fancy tricks here. This is just Mark going with a decent riff to start things off, then crafting a better melody afterwards, ultimately creating a decent MIDI that just generally kicks ass. Sure enough, it got use in the Eternal level Frozen Time, and seems to fit well there. I have no problems with this track, though it could use a lot more use in general like a lot of others here.
18. Anger's Reprise (MAP26)
Hidden Anger is always a classic track, one that never gets old in the hearts of many WAD players. Anger's Reprise is of course a reprise, so it doesn't get as popular, but hey, David Shaw tried and delivered well. The maramba beats will deceive the listener for quite a while, before we get to hear how David Shaw does Hidden Anger his way. A little higher-pitched than usual, but it worked out, and then it slows down a bit. It loops great too. A reprise ended up still being a good treasure.
17. Tempter (MAP11)
A tune that really does scream Mark Klem in full. Grittiness always starts things off, with the synths popping in to give the memorable melody and to add loads of flair. Since there's more than just one riff, it's a lot more enjoyable than it sounds. The best part is it fits well in just about any level. Worked well for MAP17 of Biowar, for example.
16. The Maw Awaits (MAP14)
This one will take some time to grow on you, as it feels quiet at first. At least you can feel that bass well enough. The guitar riff is some fancy work, and the drums offer a fun funk beat to complement. Synth picks up the pace, and IS THAT A DRUM SOLO?! I love that part the most, the one part of the song I always look forward to with this track. Shame it doesn't get used a whole lot in other levels.
15. Avalanche (MAP01)
Avalanche starts things off rocking, right in front of several enemies in another tough opening map. It's no Hidden Anger, but why should it be? It works out nice enough to get the action going, and there's a nice zoning-out part in the guitars there. Fits for a racing game even. It's simplistic in a way overall but will still linger in your head.
14. Interphaze (MAP04)
A surprisingly fun and funky MIDI from Shaw here. The bells are ominous, but the funk beat kicks in with the guitars making for one of the most fun Memento Mori II tracks overall. Gets it going before the finale, which is...awkward. Well, it's not bad, but it goes into a downward spiral taking the beat from the bells from before. Said downward spiral isn't bad by any means at least. It naturally feels as such.
13. Frivolous Encounter (MAP15)
We're really getting into Mark's best tracks now. Frivolous Encounter is one that definitely fits a Doom game in all sorts of ways. Urgency with the notes in the beginning, the violins going super strong, and the drums driving just about everything. Great for frantic levels like MAP15 or Valiant's MAP24, a bit underused overall in the community though.
12. And Blood Will Spill (MAP22)
Most of those tracks which promote high urgency in their tone seem to be the ones that score the highest. And well the guitar work in And Blood Will Spill makes the overall tone of the level one to hurry up on. Strange that, given the size of the level, but there's a lot of enemies that populate several areas in that map so it's fine. Apart from its fun guitar work, it's got fun trumpet solos and can work well in action-packed levels in general. But believe it or not, the bass in this track is the strongest instrument of it all.
11. Nothing So Cruel (MAP19)
An appropriately-named track with much of Klem's musical hallmarks. Prodding beginning, wonderful guitar prelude leading to memorable and melodic riff, plus a few variations to help. It crops up a few times in other projects, particularly in base and underground levels, but no matter what, it just fits well anywhere, and in a way it is that which matters most.
10. Outstretch of Sin (MAP16)
A really, really underrated track by David here. Another prodding beginning, well-done drumming and a driving bass, the strings that accompany it work out great for creating the main melody with another melody of guitars joining the fray. When the trumpets blare, those strings play in accompaniment, with a trumpet solo before more blaring and then the piano brings it home. Honestly, what isn't to like about this one? It's easy to warm up quick.
9. Time Runner (MAP25)
Otherwise known as Time Keeper, with an extended version of Dredge. AARGH! Too many titles! Can't keep track of 'em all! That being said this is easily one of the most fun Mark Klem tracks ever, already getting right into the guitarwork and the accompanying horns further entrenching the melody in bliss. Very ROTT-esque in ways, but it slows down to a more comfortable Doom style. I'm guessing this is the extension of Dredge here? But whatever, even when it slows down there's nothing about this track that I hate.
8. Circle of Fire (MAP28)
Somehow, this wormed its way up to the Top 10, but think about it, for those times where you're in a city-like landscape at night, this is the kind of track you'd probably expect to hear. Pop-like drum beat, but a bass riff that is just so fun to listen to, with a few guitar pieces and even a horn solo. Very fitting for Corporate Hell, the level it is on. Relaxing, not relaxing, loads of moods to feel with this track.
7. Organic Gods (MAP17)
Nearly eight minutes long, but while it's easy to determine the dynamic between Klem and Shaw for their rock tracks, it's harder with their atmospheric ones. In any case, Organic Gods is a legendary track in every way, well-orchestrated with great instrumentation before the extra creepy breakdown promoting all sorts of moods. It then sits comfortably with a melody that feels like it's from Castlevania or something, before retreading and then not retreading familiar melodies. Just listen to it, it's all I can really say now.
6. GloomKeep (MAP24)
A very appreciative and totally atmospheric track David pulls off with true guile. It's not the absolute best fit for the level its in, but it's still a very worthwhile track for a nice, slow-paced level of any size. It's those orchestra parts that truly sell it, but it oddly breaks into a nice guitar segue that surprisingly does well too.
5. Give In (With Pleasure) (MAP03)
It's like Mark Klem gave in (pun intended) and improved on his best track Hidden Anger, with a more fun bass riff to start things off. There's LOTS of guitar melodies and riffs to look at here, with at least one being memorable. Okay, I shouldn't say that. All of them are. You get comfortable with the main chorus riff, but then you get treated to an extended guitar solo. You can tell Mark Klem gave it his all with this, and the solo is both epic AND somehow space-y.
4. Into the Fray (MAP02)
Three or six notes can be enough to settle the atmosphere, and this track shows that. The main melody gets accompanied by strange bells then, but just offers the perfect creepy feel. Comfortable and creepy shouldn't be in the same room together, but David makes it work. The latter parts of the MIDI then throw harder orchestra parts with an alright guitar riff, another strange combination that wins. It even mellows out at the end of the MIDI to loop almost perfectly.
3. Dredge (MAP21)
Dredge remains a personal favorite of mine ever since I first heard it in Biowar MAP05. It's an industrial-sounding track, but feels like it can fit in just about any context. Strange synth is at work as the rest of the instruments drive to the creepy synth solo. Focus on the bells and the synth at the same time, it's fun. Mark just switches melodies on the fly following this, then adds some variations to it, but the end result is a nearly six-minute long track of kickass.
2. Midnight Call (MAP07)
Throughout this ranking I've been having fun alternating between Mark Klem and David Shaw tracks to show I like both artists quite equally, and the #1 spot is proving the hardest. Regardless of whether my opinion on this track means it will become #1 doesn't matter, Midnight Call is the best of Mark Klem's MM2 midis. Once again, going for the atmospheric route, with creepy synth taking full swing. Not-so-grungy guitars accompany but don't detract. The bell-sounding synth part is what sells it though. Much of what follows is well-done orchestra, more synth melodies, and even some string strumming. Yep, I'd say the longer works always feel epic.
1. Backroad Wanderer (MAP10)
Nailed it. An absolutely brooding track that remains my favorite of the David Shaw tracks and proves memorable enough to be replayed in many other WADs. Even the Massmouth series loves David Shaw tracks, but especially Backroad Wanderer. An absolutely MEMORABLE bass riff and drumming sell this song perfectly, and the string strumming near the tail end of the MIDI don't make you feel like things changed for the worse. They went for the better. And Memento Mori II's soundtrack is an absolute gem even 25 years later.
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