This had to come by eventually. Requiem! The last great vanilla megawad before the Quakers Quaked their way, or whatever you call that. And well the music in Requiem is just as good as in Memento Mori II. Now starring Jeremy Doyle as another musician for this game too. 23 tracks to rank. Let's go!
23. Baracus Returns (Title and Intermission)
Yeah, one day you'll see a title track, and in this case a combined title and intermission track, breach the last place mark. Not today, sadly, cause this track doesn't really go that long. But it's still super ominous and as always there's no really weak tracks in Requiem.
22. Slider (MAP24)
I'll tell you, it's already really difficult to rank some of these tracks. Slider I would say its biggest weakness may be the fact that it's played during a time where tracks are starting to repeat in the megawad, and it's somewhat easy to miss it in the middle of just one level. That being said, spooky atmosphere ensures this isn't one to forget, even though it's real slow to start. But who am I kidding.
21. Jacob's Staircase (MAP07)
This one always struck me as weird. It sounds like it would fit a 70s bar music, not that that's bad, mind you. It just sounds quite happy when compared to the overall atmosphere of Requiem. Yeah, it at least tries for something spooky but it never really feels that way sometimes. An interesting track for a MAP07 too.
20. Take All (I Have More) (MAP20 and MAP25)
This track exists at least twice, but both levels are quite short, and like the previously-ranked track, is an odd fit for Doom maps. Maybe it's the instrumentation with the awkward guitars as well as the trumpets, almost as if it's treading the waters of ROTT with those trumpets. Pretty funny when you think about it.
19. The Rhythm of Carnage (MAP01 and MAP26)
Well, it gets the ball rolling! Gotta love how when Shaw rocks out it's always generally decent. Fun Master of Puppets-style riff with droning rock sound, and works great for both action-packed levels. That being said, those two levels this track is on are a little too short for this to be that enjoyable.
18. Skinny Puppy (MAP19)
I have no idea if this is actually the track title, but it is the level title. One of the more appropriately-sounding MIDIs for its level, although it has no relation to the actual band it certainly fits the punkish and techno nature of the level its on. Shame it doesn't get used much, cause this is a hidden treasure by Doyle.
17. Tides of War (MAP17 and MAP32)
Driving drums are what really makes this song, along with some key notes giving it a relatively pedestrian melody that sounds quite nice for MAP17's fairly easygoing nature. Maybe not so much for the short MAP32, but it's not exactly a bad fit. To further this one's score, the main melody is used for a medley in one of Darkening Episode 2's MIDIs, which includes such melodies such as Into the Beast's Belly and Memento Mori II's intermission. How strange that this song's melody could end up in a medley for a later set!
16. Path of Destruction (MAP06)
I'd like to think of Mark Klem's best strength, as well as his biggest weakness, as finding a great riff and sticking with it. It's why songs like Mirage a bit lower than usual, even though they have memorable riffs, they constitute the entire song. Which is the case with Path of Destruction. Fantastic riff promoting creepiness and urgency, along with accompanying instrumentation that works quite well, but I keep thinking there should be much more.
15. Reason for Nothing (MAP16 and MAP22)
To me this is a fun track, but it barely compares to the much better and more memorable Klem tunes. It's about as typical as Mark gets with grungy melodies, one which you can't really hate, and fits quite easily to both levels its on. Or maybe that's cause MAP16 is actually my favorite level in the WAD. Either way, it's fun, but there's better.
14. Mystic's Glance (MAP05)
Turn up your volume a bit, this one's a bit quiet and slow to start. It's got a slow, melancholy melody, making it much better than I expected, plus the main riff (which you want to turn your volume up) is equally melancholy. It's a very, very nice track, but it is a bit quiet and only gets used in one map in the set.
13. Rage (MAP02 and MAP27)
Tambourines and cymbals constitute the start, before Mark's signature grungy guitars throw themselves into the melody. This is a gem of a MIDI from Mark, as it's one of the few that gets better the further you go in it. Culminating in a beautiful guitar solo which follows some tenser riffs, what isn't to like? MAP27 in particular makes great use of this, as it's the longest level overall at that point and helps you like this song more.
12. Devil's Grounds (MAP14)
An underrated rocking gem from Klem. Seriously? How has this not played more? At least with other Requiem tracks they've been heard a few more times, but this one really deserves more credit. Funky start with incredibly fun synth and numerous riffs with numerous instrumentation. Honestly this is one of Klem's more experimental tracks and deserves better.
11. The Everlasting Negative (MAP21)
And here's another track with very low mileage. Given how much you'll be banging your head in MAP21, you at least are treated to a very ominous and melancholy track that would put Mystic's Glance to shame. Those guitars are full of feels, and even before that the bell-sounding instruments are just preparation for what is to come with those guitars. It even slows down for the ending. A classic tune.
10. Dry Rot (MAP18 and MAP23)
Two of Mark Klem's tracks here really rock your socks off. This one is actually the second of the two but it's no slouch. Lots of adrenaline pumping once those guitars get louder, it gets a bit crazy at times. Although it slows down, it picks up the pace with ascending notes and doesn't let up from there with interesting riffage. Even the bass is meaty and grungy. This definitely had to be in the top 10.
9. Lordly Might (MAP10)
And here's the other rocking track from Klem. Honestly, it should have been used more in this set, though it get used in other levels (Zones of Fear MAP05). The drums are quite loud and drive the whole melody, with muted bass being heard well with it. The guitars, and later the trumpets, make this one of Klem's most active and lively MIDIs, but it's still full of doom and gloom once you go to the hardass riffs near the end.
8. Breath of Sin (MAP03 and MAP28)
Many of Shaw's tracks landed in the Top 10, so let's look at Breath of Sin. Muted bass to start things off, but the synth and the low horns really drive the melody and provide much of the love. Relatively spooky but wouldn't sound out of place if it was made by a certain Bobby Prince. Yeah, I'm going there. It's such a good track.
7. Lamneth's Ground (MAP13)
Of all the tracks that only get used once or so, man, this one really hits home. Atmosphere is absolutely nailed, driving drums and low-tone guitars help make it fun and atmospheric. Several melodies exist with fun instrumentation in them, with the most slowed-down melody leading into a fantastic extended guitar solo. One that even drowns itself out for the rest of those juicy melodies. All on the level with the double 3D bridge too. Criminally underused as a MIDI.
6. The Helix (MAP09 and MAP29)
Sometimes the strings make the difference in the beginning. A simple down-chord leads to the drums picking up and synths getting better. Again, another MIDI that gets better. The main culmination has to be the Doom-sounding breakdown near the middle, with the guitar going up and down, with some hard notes at the down part along with some cool drumming before it mellows out. Maybe this is why it's called The Helix.
5. Last Resort (MAP15)
Like Skinny Puppy, I'm not sure if this is the real title of this track or not, but we got a track that proves to be both ominous (those loud and eerie sounds!) and rocking, once it gets comfortable that is. This track is actually kinda short, but that doesn't matter, what matters is an almost perfect combination of rock and atmosphere to make this MIDI just as memorable as the level its on, and easily one of Doyle's best.
4. Somewhere Over the Horizon (MAP04)
Mark Klem makes a Heretic-sounding track that works out well. It definitely has that feeling, lots of strings, a medieval-sounding track that goes into what you'd expect for castle-storming, some guitar work, but mostly low horns and spooky tones. It gets used in a number of other sets as well, making this one of Klem's better works. Yeah, some of his more atmospheric works certainly trounce his grungy ones.
3. Hunter's Lair (MAP11)
Honestly the best of Shaw's work in Requiem, and he's exceptional here. Low bass and a memorable drum line, a great guitar riff that hits the feels. String accompaniment furthers the feel, and then a semi-solo to end it off. This gets used again in Darkening MAP08, but like Lamneth's Ground, really does deserve much more in mileage.
2. Under Death (MAP08 and MAP30)
Klem will take us home with, you guessed it, more atmospheric works. This is one of Klem's most memorable MIDIs overall, with perfect spookiness (not in a Halloween way either) going up and down and drums and bells joining in to enhance that spookiness. The gritty guitars you'd think would be detrimental but it's the exact opposite. It makes the atmospheric feel much better. There's even a mini-solo to round it all down. No wonder it's one of the tracks you'll listen to in a Sunder map.
1. Breach of Madness (MAP12, MAP31, and text music)
Organ notes make up one of Mark's more spooky tracks and he sticks with this memorable riff a number of times throughout this track. But he goes away from it for a few simple bass riffs, and also some grungy guitars. It's yet another case of a perfect mix of grittiness, spooky atmosphere, and all of other things that would make Requiem great. This works out nicely for even text music too! To me it's the most memorable and treasureable of Requiem's tracks, and that's the way to go.
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