Blog Timeline 2021

I hated 2021. There, that's the post. 2021 was a huge amount of turmoil in the world, politics seeping into every single corner of every single thing that ever was a thing, entertainment had its ups and downs, COVID has messed up lifestyles, including my own despite vaccines and all, while mental health was on the decline in a number of ways. There were a few positives, and I tend to argue with people who say 2021 was better than 2020 because so many of their reasons were personal instead of, you know, in a broader scope. But let's see what's been going on.

Blog: First of all, I haven't really been updating the blog nearly as much. The biggest issue has been Doom Musings, but at this point I'm going to hang up bi-monthly stuff from now on. Maybe I'll make a musing tomorrow on New Years. However, you may have noticed that I haven't made any posts regarding RPG or ROM hack look-backs. So it really does seem that there wasn't much in actual writing work. I did have moments of writer's block at several moments, which of course led to the musings being mostly soundtrack rankings instead of the usual bunch of stuff. But perhaps the main reason why I haven't really been doing stuff on this blog will come right now.

Doomwiki: So yes, I've been sensationally active on Doomwiki. Sensationally active. Secret-hunting was my forte and I really wanted to document descriptions for each secret for every WAD I could find. This took up more or less the last four months or so of work and was one of the primary reasons why I haven't been active in other departments.

Real-life: While I kept a nice tutoring position up until summer break, I also took an auxiliary online course that ended up furthering an application to becoming a full-time teacher. Wahoo! Though this of course meant that I have less time to work on other things, as I'm in a classroom on weekdays. Still, I primarily use my computer to do all the planning of fun lessons, and during those times I will probably get involved with some stuff on the side.

Music: There's been some fantastic metal stuff I've been listening to these days. Volumes releasing an album on my birthday was excellent, with a good vocal combination and all, though I wouldn't consider it my favorite album of 2021. Two albums really peaked my interest, those being Whitechapel's Kin and Erra's self-titled, both have excellent qualities, with Erra continuing to refine their sound while keeping their vocalist and Whitechapel further evolving into a more melodic band with excellent cleans. I have to express my glee at how wondrous these guys have done their music.

What I've been watching: Pretty Cure, and LOTS of it. I'm up to Suite Pretty Cure now, and I've been analyzing every character and really am dedicating a good amount of time to this stuff. Yeah, I'm really planning to probably even put some rankings of things there too, just cause there's surprisingly not a lot of it. I really enjoy the All Stars movies more than anything, due to the Avengers-like meetups and all. But hey, gotta get through it all eventually.

ROM hacks: Gaia was the last one for last year, so what did we have this year? Well, we had eight! Grass Jewel 2, Dark Rising: Order Destroyed, Sweet, Mega Power, Nameless, Adventure Yellow Chapter, Scorching Scarlet, and Vega. There was certainly quite a lot of variety, but I think, on the overall course of things, Nameless is the clear winner. The funny thing is it was still in development with a brand new episode as I played, but it was worth it, and my walkthrough sure as heck went incredibly well with what I had experienced. I have Polka Aqua 1 under my belt, which I haven't touched much since September this year, but I'll resume it eventually.

RPGs: only 14, how bad was that. Most of it is continuing the CRPGs with Wizardry and Might & Magic, and I really flummoxed my way through the entire Wizardry set. I also reviewed the original Pokemon games, Spectrobes, and my pick for the best this year, Final Fantasy X, a fantastic example of storytelling, interesting characters, sidequests, and it wasn't really that difficult on the whole. Oh, and I also finished a game called Vandal Hearts this year, but I didn't get the chance to review it. It'll come though. As well as I shall continue the gaming at some point. But that leads me to this...

Platformer: This year I did myself a favor and explored a different game genre in depth, the platformer. All your Mario, Sonic, Mega Man, Castlevania, Metroid, Tiny Toon Adventures, Spyro, Crash, Valis, all of these franchises I explored, plus many other games. I managed to somehow ECLIPSE the number of RPG reviews by platformer reviews, finally ending at 170. There were tons of favorites here, with a number of non-favorites, but overall this was something I enjoyed doing. Maybe I'll do more platformers at some point and talk about them on this blog, or maybe I won't. I still want this to be primarily Doom/RPG/ROM hacks though. Favorite platformer: Lode Runner Online

Next year I swear I will return to my roots and get all those unfinished businesses done, as well as create more content when I can. Happy new year 2022.

Doom Musings: The last bi-monthly musing.

I'm just gonna go ahead and say that yes I do enjoy doing a lot of writing for a lot of topics. And as much as I adore writing about Doom stuff, lately I haven't been doing much that I really, really am passionate about. I love reviewing things that I just complete, such as new games, new soundtracks, maybe even the occasional Pretty Cure season where I look closer at damn near every character and how good they are. But Doom? Even though I have much of my invest in it at the moment, I just don't feel like writing this kind of thing that much, especially not bi-monthly. Given that I now have full-time work, several other games I need to finish, RPGs and ROM hacks that I need to finish, I have to make some sacrifices, and it looks like Doom Musings will no longer be a bi-monthly thing. There MAY be a time where I could write something Doom-related, maybe not in line with anything at all, but with a ton of stuff at my plate there's time for lots of breathers. I gotta stop being so perfect on what I do. See y'all whenever I decide to do this again.

Doom Musings: Soundtrack rankings: Reverie

And we go from one modern-style megawad to the next with our soundtrack rankings. While it was the Memento Moris in particular that made me wanna do some soundtrack rankings, Reverie was right behind them. Good lord I love this soundtrack here so much, we've got a great blend of styles from these particular composers. Like Unholy Realms, almost the entire 35-song soundtrack here is so great that ranking them all from best to worst is quite the hassle. Though I did give a top 5 during my DWMC playthrough a while ago, and I'll keep it as I dive right back into this awesome soundtrack.

35. Reverie (title track)

And as usual the poor title track sits dead last. At least it sounds serene, like a reverie should. 

34. Through Suffering (text music)

Once again, to really get the different ways to figure out what Reverie all about, something serene is quite the thing to use. Those chimes and synth blend well together.

33. Onward (intermission)

And how else can we show moving onward better than a marching drum beat! I always loved this intermission, even if many tracks afterward are a lot better than it, it just shows that Bobby Prince Doom/Wolfenstein militaristic feel quite wonderfully.

32. Lost In Our Dreams (MAP31)

I feel like this track is too short. It's got great chimes that drive the main melody along with the drums. The synth coming in also helps matters well to give the level its on a sense of purpose. Then the smaller guitar parts drive it home. I feel it doesn't loop correctly though. Maybe this was intended, who knows? Felt like I was playing the Searching! from Eternal Doom with the way it loops, and for such a big level, it's quite weird.

31. Death Waltz in B Minor (MAP09)

This is much better than Ballad of the Demons in being a Waltz of the Demons homage. Probably due to all that variation in the overall melody, making it sound much different. B Minor or not, this was a cute track to listen to, as short as it is.

30. Guns-ablaze (MAP11)

Weird funk. I can kinda dig it, but I'm unsure if a techbase level like this was the best level to use it on. The bass is great, the guitars have a weird Caribbean vibe to it, but the horns drive the song. Interesting, but not really a personal favorite of mine. Easy to dig though.

29. DOOM Funk (MAP05)

Again, weird funk. But this is a little better. Perhaps because it's more bass-driven than the other instruments, where the bass is far grungier in sound, plus a few interesting guitars and even kazoos thrown in. You also wonder if this is supposed to be a homage to DOOM, the Doom II track of course.

28. Hell's Last Stand (MAP29)

Interesting that it's called that in a relatively short penultimate level. PRIMEVAL certainly goes for the neatness in the orchestration with a somewhat simple melody that indicates end times in some fashion. Gotta keep the sinister look, but the stuff from Unholy Realms can easily beat this one.

27. Sludgeville (MAP20)

Here I was expecting stewboy to do something quite sludgey with sludge metal or something. But instead we get some of stewboy's more interesting instrumentation. Listen closely, between all the fun and brooding atmosphere as well as the percussion we get to hear what nearly sounds like water droplets, followed by fun synth. It's a weirdly fun track.

26. Knee Deep in DOOM (MAP08)

PRIMEVAL really wants to lean you into the original At Doom's Gate, with the music being almost exactly like it but with far more rock to it! It's certainly enough to get the blood pumping, and then you have the slight variation in the familiar melody, the rest of the guitar licks, and the synth joining in. Just a fun track to go about a rather long level.

25. Arachnobus Mayhem (MAP07)

Oh and speaking of At Doom's Gate, well, this one sort of has that feel too. You know how the original is often said to be like Master of Puppets? Well, you could probably hear that kind of deal with this song's main guitar parts. Always a fun one to listen to, but it does start things off by throwing listeners with lots of metal drumming.

24. Crimson Sky (MAP28)

Really leaning into the organ here for this incredibly brooding track. It's definitely got the Aubrey Hodges-style atmosphere going for it as you flummox through a moderately-large level, with the organ notes giving that brooding feel. This is followed by synth-sounding bass throughout the map that provides the eerie backdrop you want to hear.

23. Dispersion (MAP16)

Jimmy's got plenty of kickass tracks and this one certainly fits, but it is slightly forgettable when put up to the rest. It's audibly busy almost throughout the whole thing, feeling like there's a lot of energy going around this hubspoke-style levelset with the guitars trying to drive everything around. Still, Jimmy's got more memorable tracks later on.

22. Killing Spree (MAP25)

One of the heavier-sounding tracks overall from PRIMEVAL, going for that classic metal feel with the fantastic opening riff and the speedy melody which honestly you can imagine a vocalist coming in to do that guitar lick that comes in. Some of the guitar parts feel like surfing waves up and down and the whole thing is just made for fun it seems.

21. Burning Times (MAP12)

And now for something Doom metal. Honestly I suck at metal genres, but I'm making the guess that doom/black metal are the ones with brooding and nasty-sounding guitars, and that's what I feel with Burning Times. It's definitely gritty and quite interesting to start off after a death exit.

20. Shut Up And Bleed (MAP02)

Shut Up And Bleed always felt like a continuation of Let's Rock! Like you got used to the mission statement of that track rocking you into Reverie and then this occurs and now you start to wonder what to expect next. Here we got the guitar parts starting to lean the listener further in, trying to create more interesting riffage. It works out well.

19. Ashes (MAP06)

Ashes is pure DOOM funk, moreso than other tracks that actually have that name. Like it's got the sinister approach into the melody, then it gets driven by both the bass and those sinister strings. Very nasty sound overall, but nasty is good in this case. That said, that's more or less all to the track.

18. Let's Rock! (MAP01)

And here we are, the track that brings you right into the game. An absolutely fun metal-blasting track that feels like you're ready to kick some ass. Of course, the fact that it's the MAP01 track may be the weakest part, because MAP01 is one of the shortest levels in the entire game and other tracks will prove far more memorable.

17. MDK (MAP19)

Here's a track with a ton of potential, but like the MAP01 track, gets used in a very small map, so its usefulness dwindles a lot. That being said, it's a Jimmy MIDI and a wonderfully-atomspheric one. Excellent bass to build up the tension, plus the symphonic background sound going into fun xylophone notes. It's about five minutes long, so it's probably a good idea to milk it for what it's worth!

16. Fortress of Misery (MAP17)

A track that is all spooky, yay! It's fully orchestrated and gives the perfect sound of impending doom at every turn. Plenty of other instruments eventually join in to further the impending doom feel. It especially hits its stride with the organ bridge, before returning to the same melody with even more spookiness.

15. Relics (MAP23)

Relics is interesting. This is yet another Jimmy techno-atmospherno (I made that up) track that makes it sound like you gotta be fluid with your movements throughout the level. And that's not wrong, the whole level is one that requires lots of fluidity. The synth that comes in accompanying the atmospheric sound is blissful, and just works so well.

14. Have A Frag on Me (MAP03)

The first three levels in Reverie have all rocking and metal tracks, real nice. Though out of those three, this one just feels the best. The riff is very cute, and I wonder if PRIMEVAL took some inspiration from AC/DC given the title. Though I haven't listened to that band in some time. In any case, PRIMEVAL sticks to this cute riff and it truly is a good one throughout the whole track.

13. Becoming (MAP18)

Ah, there's my favorite MIDI instrument! I love the low-sounding guitar sound, and PRIMEVAL will give you fancy arpeggios with them for much of the song. That said, he's gotta go further than that, and he does by ramping up the volume and giving a much better Doom sound. Preferable in my ears, that's for sure. It even stays that way for some time before returning to the low sound later on.

12. Haunted Corridors (MAP04)

Pains my heart not to put this in the top 10 Reverie tracks. It shows up at MAP04, a level which definitely has a lot of wandering in it compared to the others, and boy does the atmosphere feel much more welcoming with its full-on brooding atmosphere. Couldn't really get enough of it, but that sinking, sewer-like feeling prevails in a level that does have a lot of slime too.

11. Stigmatism (MAP32)

This is more or less a culmination of what PRIMEVAL's sound is about. A rocking melody, though it doesn't go heavy on rocking guitars or bass this time, but rather heavy orchestration. When the synth comes in, PRIMEVAL appropriates it with a perfect Doom feel before the drums continue to help drive it. The piano part is just some icing too. But man, this is a great culmination.

10. Darkness Calls (MAP21)

In my opinion, an underrated Jimmy track. Used in a level which feels more like a few arena battles, giving tons of opportunities for fun combat, but the track fits exceptionally well despite the level size. Bass is slow at the start, but the synth picks things up before the guitar parts give it that rockin' feel. A lovely track that honestly should be used more often.

9. Aztec Gods (MAP22)

A track entitled Aztec Gods in an Egyptian-themed level. Um, okay? Unlike Darkness Falls this gets used a lot more, perhaps due to Jimmy nailing the aesthetic of the title. Yep, if you want tribal drums and synth that feels like you are in the Aztec, with a slight jungle feel, you got it right here. Guitars go in and out as the synth drives the whole thing through.

8. The Calling (MAP13)

I've listened to every track in the Reverie soundtrack numerous times before this and I tend to forget about The Calling. It's on a rather long level, but feels just like simple Doom 64-type atmosphere music. That is, until I really leaned in and listened to it more. The shrilling orchestra is epic, but the bass driven the rest of the track makes the mood absolutely perfect. I really should've paid more attention to this one.

7. City Streets (MAP15)

No, it's not a Duke Nukem track remix, it's actually its own thing. And there it is! The low-tuned guitar sound! Makes me wonder if this main riff really belongs on a Metallica MIDI, and lord I enjoy this riff so freakin' much. It even arpeggios further when the drums really start kicking in. This would be a top 5 track, but I find the trumpets that come in kinda goofy. Not necessarily detracting though, because it gives a slight ROTT feel.

6. Fallen Sun (MAP24)

Obviously, this would be in the top 10, but also falls just shy of the top 5 because I like more songs than this. Still, this takes the Fight the Logic If You Can melody and makes it more serene. There's a ton of perfect instrumentation but the best focus ought to be on the piano, which comes and goes but each time you hear it it feels truly amazing. Piano and Doom mix well together if you can make it.

5. Locked & Loaded (MAP10)

With PRIMEVAL's many rock tracks, some have to eclipse others, and it depends on the riffage and how well the variations go. Locked & Loaded is a true frontrunner for a favorite in my opinion. Low-hanging bass riff will transition perfectly to guitar and keep the pace throughout, while the spooky synth backs it well. To think that this track is used in a relatively large level may seem as a detractor, but it sets the mood exceptionally for a level that can be done in multiple styles.

4. After the Storm (MAP30)

The second of stewboy's Reverie contributions is absolutely serene and while you may think that it won't fit well in Doom it really does fit well for a last level. A last level that is an amalgamation of styles but takes place in a relatively serene environment. A perfect beachside area in other words is where you start, and though you go further underground, the serene feel stays. Lovely.

3. The Crypt (MAP26)

The Crypt is probably the biggest Top 5 surprise. While we've got exceptional and slow atmospheric tracks like The Calling, Becoming, Haunted Corridors, etc. The Crypt is perhaps the best of it. And all you need are just two spooky synth notes! Drive this simple melody with creepy-sounding drums, then back it up with a few guitar interludes. The track speeds up quite well with a different guitar interlude afterwards that goes between the last one and the end, but it all creates a smashingly atmospheric experience.

2. Legions of the Night (MAP14)

Yet another case of PRIMEVAL giving you the bass riff to see what to expect, but it sticks for a little bit longer as we get some strings and an interesting synth melody. This melody, combined with the bass melody becoming a guitar melody, makes for possibly my favorite PRIMEVAL song overall. I enjoy how the melody "ends" although it repeats one more time for more of that good riffage. You gotta have a great riff!

1. Bound for Glory (MAP27)

And our winner for my favorite Reverie song is the combination of our three MIDI artists for this whole wad. That riff at the beginning's gotta be PRIMEVAL's work, making another one of his better riffs. The synth that comes in does a great job of settling the mood a bit, but helps out the guitar riff to be grungy as possible. There's many ups and downs throughout the whole song, as rocking as it is, when it slows down, it's great. And when it gets techno, it really gets techno. Man I love Reverie's combo here.

Doom Musings: Soundtrack rankings: Unholy Realms

 Man, I'm really so darn busy these days, doing all sorts of stuff. Regardless, I tough it out and continue trekking on to higher pastures as much as possible. And so we look at a more modern megawad and its soundtrack in Unholy Realms. It's all PRIMEVAL, baby! And it's all original stuff too.

35. Into the Void (title track)

"One of these days!" I really will do it. I will make the title track great again.

34. Everybody told me about id (MAP18)

Yeah I still think many remix versions of tracks just feel a lot like the original that I kinda don't care that much about them. This is on an odd level that isn't Go 2 It inspired or anything but really doesn't feel like it could fit in most other areas.

33. Smell of Death (text music)

Fairly pedestrian yet foreboding for text music. I dig it, but many other tracks are better as usual.

32. Rip & Tear (MAP05)

To my surprise, this track despite sounding like Let's Rock (MAP01 of Reverie) was actually made first. Real strange! I somehow prefer the riff in Let's Rock though, despite the pitch being slightly lower and this one having a lot more variation. Them riffs are cute regardless of my viewpoints.

31. The Night Beckons (intermission music)

The night beckons indeed. While other intermissions feel pedestrian or are too rocky, PRIMEVAL cuts loose with a relatively calm yet foreboding intermission track. Adding some flair is the levels saying "survived" as if you have survived, yet the night beckons you to play more. Intriguing!

30. Lucifer's Throne (MAP30)

I feel like I've heard this riff numerous times before in other MIDIs, but I can't quite figure it out yet. It's perfect for a frantic MAP30 but I usually pass on this level so I kinda pass on this particular track too.

29. The Ungodly Truth (MAP11)

Hey there's nothing really wrong with this track. It's true that PRIMEVAL can go well with atmosphere and this level's music will prove me right. Still though, I tend to give more attention to neat riffage more.

28. Eerie Inhabitants (MAP26)

Certainly fitting for an eerie map! Lots of action though for a track that sort of befits the Waiting for Romero to Play melody, but those shallow and slow guitar notes would fit into a classical slaughter. Was MAP26 actually a classical slaughter? It sometimes felt like one when I played, so it's the thought that counts.

27. Pestilence (MAP24)

Plenty of hard rockers here in Unholy Realms. This one had a weird start, and fitted a level that actually had a weird start for that matter. It doesn't let up with the Doom-sounding metal one bit afterwards though. Given the nonstop action of this level, it works great.

26. Requiem in Dm (MAP08)

A slow track for a relatively slow Unholy Realms level. The early levels are a lot less in action as you might expect from early game, so this symphony-sounding track fits great. Main melody may put some people to sleep, and I hate the fact that this isn't some homage to a Requiem track. Still like it in a way.

25. On A Mission (MAP01)

Gotta say, it's really difficult to rank a soundtrack that is 100% great. But I have to choose which ones are just better. Is On A Mission bad? No, it has the Imp's Song vibe, but IMO does it way better than any other tracks that took the Imp's Song vibe. Sinister and grungy just how I like it.

24. Alien World (MAP04)

And just like the last track was a homage to the Imp's Song, this one is a homage to another classic Doom track, that being Infinite. Brooding, but with better instrumentation than the original and feeling far more sinister. Those drums make things cuter.

23. Godsend Death (MAP32)

Shrilling beginning goes into the hard rocking riff right afterwards. It sort of feels like that one song from Quake 2 Descent into Cereberon with the beginning going into the heavy riff. The bass of course predates the guitar and does it great.

22. Memento Mori (Remember Death (MAP10)

Memento Mori for those who forgot means "Remember you will die". I'm not mad at the title, but I was once again hoping for some Mark Klem homages with a title like that. Then again, the somewhat serene scaling up and down of the melody is brilliant.

21. Hoedown from Hell (MAP06)

Probably the heaviest track on all of Unholy Realms, Hoedown from Hell definitely is a title worth pining. It's a lot like Godsend Death, with the beginning giving you a taste before the big riffs come in. And it feels very speed metal-esque, as it climbs the notes it rushes back down and up again. Fun!

20. The Pinky Shuffle (MAP02)

Again, it's really hard for me to grade a nearly flawless soundtrack as such. This is a personal favorite of mine, excellent drums, and a truly catchy guitar riff that just screams fun. In other words, it's going to be fun no matter how it is spinned.

19. Out of Darkness (MAP28)

Parts of Getting Too Tense exist in the opening, but here is where PRIMEVAL basically goes for the full medieval outlook in sound. The guitars are no longer prominent, focus is on the strings and the choir and befits a level straight from hell itself.

18. Blood, Brain, Massacre (MAP14)

Three words, one Doom-sounding rock track coming up! A decent riff that prevails around the playing field of MAP14, a few speed metal rushes, and a couple of small variations to the riff knock this one out of the park.

17. Cloak and Dagger (MAP31)

Speed metal full throttle! Those triplets are just super fun for frantic MAP31, but here's the fun part. You hear the background? I just realized this recently but the entire track is actually a remix of Suspense! From Doom of course. But this was quite a fun fact to behold.

16. Sinister Contact (MAP25)

Bonus points for the Heretic feel. More bonus points because the level is a dark castle. It's amazing how diverse PRIMEVAL is, with his rocking tracks often being standouts and the slower mellower tracks also being memorable, these medieval tracks honestly feel quite underrated.

15. Castle Royale (MAP27)

Oh yeah, speaking of, Castle Royale. There's definitely a "JRPG boss battle" feel to this entire track, with fast orchestration, mixing guitar work, this is a top-tier PRIMEVAL track. It's got stiff competition here of course, but I consider it top-tier.

14. Chaos (MAP23)

Gritty and grungy just like how I would imaging PRIMEVAL's rock tracks. PRIMEVAL's definitely loving either remixing riffs or coming up with unique-sounding ones like this. Add to that the breakdowns and you have a classic rocker.

13. Maelstrom (MAP22)

Drums carry this track through as much as possible. The second major Hell level in UR definitely goes for the rock/Hellish hybrid in soundtrack and it shows with the guitar toned down for more instrumentation elsewhere. Honestly this is a hidden gem for the soundtrack.

12. Death & Decay (MAP15)

MAP14 was a hectic level, but the hecticness doesn't let up in both level and soundtrack when you enter MAP15. Death & Decay features more of that metal riffage that PRIMEVAL goes well with, settling down the sound a bit for your bearings. Bonus points for the Dredge-sounding part near the end. Funny enough, PRIMEVAL never even heard of Dredge (for those that forgot it's MM2 MAP21's track) when I pointed it out to him.

11. Guardians of Acheron (MAP29)

This is full-on Doom metal, literally. Very brooding and grungy guitar sound prevails throughout the track, with sinister orchestration. This would be like a JRPG final boss theme too, whereas MAP27's track fits a JRPG boss theme, this is more in line with a JRPG demonic final boss. Maybe not Deatheven from BoF2 but still.

10. A Step into Hell (MAP21)

A perfect track to start off the third episode of Unholy Realms. All orchestration, feels like a JRPG final level, which befits the Hellish mood we're going to be seeing. Very eerie whistling plus the predominant organ throughout the whole thing. I can't help but dig it each time. Even if the level it is on is quite short.

9. Congo (MAP13)

For a track named Congo, PRIMEVAL went out with the congo beat. All that percussion makes this one of the most unique PRIMEVAL tracks ever and a personal favorite of mine. It's action-packed, just like the level it is in, and fits any jungle-style level full of baddies without a fuss.

8. World Underground (MAP07)

Picture this, it's a green sewer level. Now put this track in. Boom, you've got a near-perfect sewer atmosphere with this brooding track. It's Aubrey Hodges-ish with this brooding atmosphere for all the brooding edgy atmosphere kids like me who like this stuff. Oh who am I kidding the whole soundtrack is great.

7. Heretica (MAP16)

This one remixes E1M2 of Heretic, which also has some sort of weird jungle beat to it. This one furthers that and given the very seafaring sound makes this a true favorite of mine! Lots of water in MAP16 to further this love of Heretica. This is easily one of PRIMEVAL's better remixes and it's not even close to any of the other ones. More Heretic sounds!

6. Underearth (MAP12)

For this one I can't help but think of Descent. This certainly feels like Descent's title track, with techno and lots of bass driving it. Descent had surprisingly Hellish music for some scifi robot shooting, which is why a lot of mapsets tend to have its music. PRIMEVAL definitely must have taken notice and made one of the better remixes here just like with Heretica.

5. Descent (Into Hell) v.2 (MAP09)

Where's version 1? What's with the Descent name? Why Into Hell? The name has an identity crisis, but the track is the best of the slow tracks in Unholy Realms. You gotta start out small with the percussion, then follow it with sinister chimes. This drives the song perfectly, along with the drums. Nothing but respect, and helping matters is the level itself of course.

4. Magic (MAP17)

One of the busiest tracks PRIMEVAL has made. Fun bass riff leads to scaling chimes and I just enjoy those so much. Mixing in the guitar licks and a few synths and you have an ensemble of interest in my book. Though the chimes really do steal the show in more ways than one. I'm not sure if Magic is the best title, but there is some might AND some magic going about this one. Bonus points as MAP17 is one of my favorites in Unholy Realms.

3. Frag Fest (MAP03)

Many tracks come to mind when I play Unholy Realms and this is a top 3 because of that. Bass, then guitars, add drums, interesting usage of synth, we've got ourselves a PRIMEVAL track that will continue to thrive with Frag Fest. It's sort of the MO for Unholy Realms as a whole too, as the set is nothing but a frag fest throughout. But this track's here to remind you of it, rocking, techno, it's got multiple feels for multiple frag fests.

2. Your Move, Cybie (MAP19)

That glorious, glorious bass riff. It's speedy and gorgeous, and then it segues into the rest of the track, with guitar taking over that riff, adding interesting Doom-sounding variation, and the synth making it give that sense of urgency as you run around the fields and buildings of MAP19. Clearly all this action may actually make you forget there will be a cyberdemon in the wad, right? Better not forget, this track fits whether or not the cyber is present.

1. The Relic (Unholy Realms Mix) (MAP20)

My number one track right now for Unholy Realms is The Relic. Of course, I don't know the original track or if it's called Unholy Realms Mix but it would be cool to know the origin. Anyways, here we have another track befitting of the JRPG (final) boss theme, and a perfect way to end episode 2 and start episode 3 of Unholy Realms, certainly. Those strings that drive the main melody with a medieval sound kick boatloads of ass in the MAP20 arena, and this is accompanied by a few guitar breakdowns and the general Doom sound. What isn't to love about The Relic?

Doom Musings: Soundtrack rankings: Plutonia Revisited

With Plutonia 2's soundtrack rankings out of the way, let's cover the twenty unique tracks made for the revisited Plutonia community project, which was more homage-y and less of a sequel than Plutonia as you may know. There's a sequels to both coming out soon, and I wonder what tracks will show up there!

20. Plutonia Revisited Title

One of these days the title track will reign supreme! But today isn't the day.

19. PRCP Intermission

Most of the music was done by the more rock-oriented PRIMEVAL, who definitely loved making tracks that sounded metal but also Doom-y in a way. This is a nice blend of one, made to be an intermission, with spooky orchestra accompanied by heavy percussion. Intermission is quite nice.

18. Ballad of the Demons (MAP20)

But sometimes I feel like it's a miss in some way. This is just a rearrangement of Waltz of the Demons, in which the part after the spooky violins gets a volume increase and more guitar parts. While cool, it just feels like a remix of the original tune. Sure it rocks out well but I like a lot of variation in the melody for my favorite remixes and this one's melody doesn't quite cut it.

17. I Already Know About id (MAP32)

I feel that what really sold Nobody Told Me About Plutonia was exactly what I described earlier, lots of variation to give an already familiar tune a more livelier feel than the original and give it a better remix feel. I don't wanna sound harsh to PRIMEVAL since he definitely has better tracks later on here, but a lot of these remixes so far aren't as exciting as they would be cause there's not that much in variation. At least not yet.

16. Demons on the Prowl (MAP04)

And this is what I wanted! A little more variation, starting with a cymbal crash, making the original buildup spooky with the chimes, and then we hear a rather spooky choir instead of those brooding drum sounds. It actually does make the original melody sound MUCH spookier! When PRIMEVAL gets into that groove, it's what I like hearing.

15. Mission Possible (MAP22)

A sort-of remix of Kitchen Ace (and Taking Names) but almost entirely electric guitar-driven. That's even considering another song with a similar name to the original. Well, it's sure got the funk going for it, which is quite neat, and the melody is slightly sped up even though it repeats often. It can be digged.

14. Symbiotic (MAP10)

Once again, guitar-driven, and this time taking a melody from Adrian's Asleep. It sure sounds a lot like it. PRIMEVAL was actually going for the Death song Symbolic in his composition of the track here, and there's a slight variation in the original riff to make it seem as such. It gets repeated throughout, but with a number of instrumental variations to make it a little more memorable.

13. Stony Halls (MAP06)

It took a while, but I did notice what PRIMEVAL was going by! Actually, to me, it doesn't really sound like a Dark Halls remix. It feels much more sinister than just that, and when the notes kick in, I recognize them as a variant of In the Dark. That's what I think at least. The "dun...dun" part is certainly something that I remember from the original melody after that track brought up variation, and that gets included here and I took notice. Also this track is greatly underappreciated.

12. U R my NME (MAP11)

Darkwave has always been an interesting composer, preferring more mysterious, Final Fantasy-sounding tracks that offer more in atmosphere than action. And interestingly enough, the track Darkwave made for his one level seems like a love letter to the now-classic "Become the Hunted" by Jimmy, offering his spooky take with somewhat simpler composition but still very creepy and fitting for a level that...for once is a Plutonia MAP11 populated by more than just arch-viles.

11. Wicked Serenity (text music)

Here's a text music done right! One type of instrument I outright love in most MIDIs is the low-tuned guitar sound, which this is dominated by. It's a case of a repeated riff but the instrument choice and the melody sell it super well. It's a track that wants to blend you in to it and it succeeds.

10. Garden of Evil (MAP08)

Plenty of times does PRIMEVAL's softer tracks do better than his rocking tracks, and Garden of Evil with its cute harp notes can prove that well. A simple scaling up and then down again give this one a very atmospheric feel that prevails as you go through, well, a garden of sorts. Well it sort of feels like multiple gardens for MAP08 but still it's a great track.

9. Reginald (MAP27)

One of the three stewboy tracks here, Reginald is a rather action-packed tune that doesn't go too overboard. Very weird guitar riff but it works for the action-packed and short level it is on. The fun xylophone notes and other variations give it a bit more atmosphere.

8. Ivy (MAP26)

And we immediately go to the next one of those stewboy tracks. The string notes in the beginning are quite funny sounding, but we get into the rest of the melody afterwards. Not quite Doom-sounding, but it's stewboy, it don't need to be. It's quite fun actually, not heavy with the somewhat-muted sound but not too light to be taken lighty.

7. Overload (MAP07)

While plenty of times PRIMEVAL's softer tracks do better than his rocking tracks, it's actually more often the case that his rock tracks destroy his others. Overload is a great example. Very heavy on the guitars for a generally heavy MAP07, it just keeps that feeling of mowing enemies down in an overdrive. The melody sounds like a heavy metal version of Nobody Told Me About Plutonia's main melody as a neat bonus, at least that's what I can hear from it.

6. Jungle (MAP01)

Atmospheric way to build into the mapset's starter level. Jungle doesn't actually sound like a cliche jungle track, but rather an Imp's Song remix that starts off low as usual, but the jungle beat drums actually bring you up to speed in a remarkably dirty way. One that lets you know you'll be dealing with the dirty Plutonia-like gameplay of PRCP for sure!

5. Kitchen Names (And Taking Ace) (MAP16)

Despite its name, it turns out that Mission Possible was the more homagey of tracks! Here we have a track that doesn't feel like a remix to any of the Doom tracks, but the heavy guitar riffs feel like it belongs well in an actual doom metal or death metal track. And that's the beauty of it. Prodding riff, adding in the spooky background choir noises, a lot of it feels perfected.

4. Outer Darkness (MAP19)

Pure ambience, done PRIMEVAL style! Some may forget it as they wander the level that is MAP19 in PRCP, but it's a perfectly well-made ambient track that offers the best kind of spookiness for the nasty feeling you get when you play this level. Around any corner you feel the suspense and this one trickles the feeling more and more. The fact it gets used in MAP19 of Sunder also seals this deal as a legendary PRIMEVAL track.

3. Sewer Slide (MAP14)

stewboy takes the bronze with Sewer Slide, which is perhaps one of his strangest tracks to date. But the stranger the better right? This feels like it belongs in an underwater level in a Mega Man X game, with lots of drumwork and key notes with an occasional techno-sounding guitar included for great measure. Maybe it's that part that gives it the MMX feel? But hey, I sued this track in a map I made, so it must be excellent!

2. After All Is Gone (MAP25)

The moment I saw the name "Wicked Garden" I thought the map was gonna have a MIDI of Stone Temple Pilots but I guess not. Here we have those low-tuned guitars that I adore, with a scale-up and down but it all feels like it incorporates one hell of a sound. And I mean a rather serene-sound that still feels wicked. Perfect for this so-called garden level. The heavier guitars that come in don't detract the sound at all, they enhance it and give it a prodding rock feel that I can highly appreciate.

1. Dread (MAP15)

The sad thing about Dread is that it's on my least favorite PRCP map and possibly my least favorite Xaser map out of his entire catalog. But damn if that composition kicks some ass. It's amazingly well made, with the regal percussion combined with orchestra build-up, with that scaling-up violin providing much of the awesome. The bells and piano notes that later accompany the whole track make it even more worthwhile. An absolutely perfect composition that I'm grateful gets reused in more levels later on in the community.

Doom Musings: Soundtrack rankings: Plutonia 2

Well, I guess this was something that had to come eventually. Plutonia 2 has some interesting tracks by Jimmy, Julian Aubourg, pcorf, stewboy, Jamie Robertson, and TGH. With that said, it also treads familiar Bobby Prince music, including Doom tracks and one from Duke3D. These will NOT be in the rankings, however, since we will see how great the original tracks were instead. That said, these are great original tracks, no real duds to speak of.

27. Certain DOOM (intermission)

This is actually Julian's only contribution to the soundtrack. It's a serviceable intermission track with great percussion to provide the tense atmosphere that can follow you as you go from level to level. It's great, but the other tracks are just better.

26. A Game Score (MAP08)

Jamie's got some of the stranger tracks overall, with this one being driven well by the percussion and feeling pedestrian for a fairly short map, but you probably will get done with the level faster than you'll appreciate this track. That said though, ten levels from here would be something better, so at least it gets some credit there.

25. I will chop Mariah Carey's head off with a chainsaw (MAP21)

That's a mouthful of a song name. Dunno what pcorf was thinking with that, but here's another track where the majority is driven by percussion. The beat will be in your head, but then you'll hear the low strings producing the rest of the melody. It's simple, but it is somewhat effective in letting you into the final third of Plutonia 2.

24. Gateway (MAP03)

I feel that stewboy has come a long way since his Plutonia 2 tracks. Compared to his work here, the more modern MIDI's he's done are far smoother in sound and more memorable. Here we get muted guitars that make a serviceable melody, but the overall sound may be drowned out by the combat overall and then you have the matter of his other tracks being more showstealing than this.

23. Starting Out (MAP15)

With a title like that you'd expect this to be the MAP01 music, but it's not! It's a little more fun than Gateway I'd say, though it does use the same muted string instruments which isn't good when you compare to what stewboy would do later on. In any case, this has more strings than Gateway, which is a good thing because we can feel more of the melody in any case!

22. Silicone Dust (MAP18)

Well I did say that ten levels after the one that had a Game Score we get something better. It's Jimmy's take on A Game Score more or less. This track's got a melody which sort of takes this, as well as the more memorable and atmospheric Under a Crimson Moon, and just styles it the way Jimmy styles it. And I appreciate the work for it too. It's humble, in other words, and you gotta have that humbleness sometimes.

21. Come Out Fighting (MAP16)

When you see The Green Herring's tracks, they are usually heavy rockers, and this isn't an exception. Come Out Fighting will drive you forward with the bass before having heavy grungy riffs take over for much of the song. The riffs are quite simple, but they make the action more interesting in any case.

20. Nobody Told Me About Plutonia (MAP32)

Well, someone's gotta do a tribute to Nobody Told Me About ID for the Go 2 It-inspired level. Jimmy's spin is a case of evolving an older MIDI. Whereas the original felt sinister but with a drive to slowly succeed, this is a case of speeding the melody up while adding much better instrumentation to make it feel more modern and techno. Both are good things, and both coincide well with Go 4 It.

19. Outpost of Destiny (MAP27)

This is honestly a very underrated track even by pcorf's standards. The low horns compliment the strings that come in almost perfectly, and the xylophone notes! I love those little dinks so much. It's an appropriate amount of sinister for a sinister little level. I really, really wish this track had more mileage! For those that don't know, many of the tracks from Plutonia 2 get reused in other sets, but this one hasn't been reused once (to my knowledge at least)!

18. Rock the Building (MAP07)

In which Jaime does a rock song that services the MAP07 Caughtyard-inspired level and does it in, well, a serviceable manner. I really don't know what else to really say, because I do enjoy a rocking MAP07. The percussion is the most interesting part, as usual for Jaime's MIDIs here.

17. End is Nigh (MAP20)

This probably could have been lower in the ranking. It's because much of the track is nothing but short woodwind notes and some percussion, making a quiet, ambient, but still somewhat atmospheric tone. Does it fit Lurking Fear that well? I'm unsure. The rest of the percussion comes in, but that's not what saves it. It's when the guitar comes in. Wow, that guitar part is BEAUTIFUL. This would have been somewhat sub-par if it wasn't for that.

16. The Hunt (MAP29)

Jaime's tracks sure are weird! Another percussion-heavy track, but it gets to those two droning string parts which are LOUD, before the bass and percussion pick up the pace and guide things to a conclusion. It's one of the strangest MIDIs overall, but looking at the name, I believe this has to be a love letter to Prince's On the Hunt. I mean, those loud strings are like the beginning, and the bass part feels like it would fit well with the overall mold of On the Hunt's melody. Way to go, but man my ears.

15. Against God's Will (MAP24)

Another great rocking track by TGH which drives you well with the percussion before the grungy guitars pick things up, providing a melody that sort of is kinda AimShootKill-like. Maybe I'm spitballing considering what I compared it to, but look at the title of the MIDI and compare it with AimShootKill as well. Anyways, it slows down at one point but keeps the melody and that's always pretty cool.

14. Sam's the Man (MAP14)

I wonder who Sam is referenced to here? Sam Woodman perhaps? I mean HR2 was something he composed a lot of strange tracks for, and HR2 came before PL2. But in any case, we have a Sinister MIDI, pun intended, which is appropriately spooky and prods the player along well. Quite fun.

13. Deadly Town (MAP05)

Starts off atmospheric with some interesting guitar licks before percussion takes over. Jimmy works the magic of the instruments in super-strange ways. It then has at least two interesting riffs, and players will take note of the guitar parts real quickly. Fantastic, and also appropriate for the short level it's in.

12. Plutopia (MAP26)

I guess Jimmy was thinking of this at the same time TVDV was thinking of the level title! Well, this is a fairly interesting Jimmy track, with the simple synth melody providing the benchmark, but with Jimmy continuing to add variances to make this spooky yet action-packed at the same time. You'll spend quite some time in Plutopia, so might as well listen to its theme song with dignity well!

11. Wasteland (MAP33 and text)

Beautiful droning sound with proper triangle notes dictate the main melody of this particular text screen music, which works quite well in the level Chocolate too. It's an extreme amount of Sinister, almost as if it belongs on the Heretic soundtrack, but it could work nearly everywhere. So evil-sounding!

10. Pyrainth (MAP01)

To start off Plutonia 2, you get introduced to a track which has its starting parts sound like a combination of Blood Jungle as well as what you might expect for an Egyptian theme. Though there's no Egyptian levels in Plutonia, the backdrop provided is sinister, and damn I use that word a lot but Jimmy's Plutonia 2 work does not age poorly, it just works out so well and may continue to work out well in the future.

9. Slime Dweller (MAP19)

Gritty, grungy, and has a very sewer-like feel and name, Slime Dweller is a fantastic Jimmy track to fit the underground mold. The bass is top-notch, and then the rest of the spooky instrumentation will further drive things forward. The loud drum beats near the end are icings on the cake. Truly a lovely tune to deal with grungy atmospheres.

8. Bloody Hell (MAP02)

Hey, want a track that feels like you're in a jungle? This is the one for you! It's truly got the jungle feel to it, which I adore quite a lot. Easily Jamie's best work due to the fun jungle notes and the feel of the green around you. I really don't have anything but praise for this one. Great job Jaime!

7. Battle Strategy (MAP09)

One of Jimmy's more rote MIDIs that sort of makes it feel like it's a Mark Klem tune, Battle Strategy is used in a level where you definitely want to use good strategy to survive it, therefore we get a good amount of percussion to help you strategize your grand slam against the demons, with interesting guitar licks further complimenting the fun melodies provided.

6. Astral Dreadnought (MAP10)

Astral Dreadnought gets used as much as Mark Klem's Anchor. There must be a reason for that right? Well, just listen to the spacey-sounding beginning, the bass that follows, the fun synth melody that also follows, and the deconstruction of said melody, plus the bass and the few more synth parts. Quintessential Jimmy all in a single package. Very fun to plow through demons with this. But I like five more tracks more!

5. Night Run (MAP17)

Interesting that two MAP17's, this and Speed of Doom's, use this track. But it's the best of stewboy's MIDIs for Plutonia 2 because it's got a very memorable guitar riff as the melody, fun variations on it, and the buildup to it is quite fun. A very fun MIDI made for very fun levels!

4. Sanctified (MAP25)

You want something to feel the cold feel of ice? Well the intro to this song, and the cool piano notes, will let you into Black Ice well. Sanctified is a track that wouldn't be out of place at all if Plutonia did have an ice level, and forgoing that, the string pieces further the sinister-ness. All this while feeling cold, as cold as death. Jimmy's made a fine one here.

3. Under a Crimson Moon (MAP12)

TGH, known for rocking MIDIs, slows down considerably and makes a track that would fit during a pedestrian night. One where you sit down, relax comfortably, listen to some ambient percussion and then the song kicks in with the woodwind that soothes your soul. Then the drums start kicking into overdrive at some point, weirding you out, but not so much you'd leave the scene. That's the overall feeling one gets with this one.

2. Become the Hunted (MAP11)

I always imagine that the main percussion here feels like some very sinister incarnation of knocking on wood, and it always feels that way despite Arch-Violence having far, FAR less wood than the level that inspired it. A track that forgoes any violent encounter, the proper creepiness will abound as you waddle your way around arch-vile territory, and it fit quite well for the nasty Precarious (Sunder MAP05), where the song actually feels like the level title.

1. Cataclysmic Impact (MAP30)

But we gotta end this with more than just anything, therefore Jimmy takes the gold with Cataclysmic Impact, a song that must be built up before we get down and dirty with the melody. Creepiness will go up as the song goes, with piano notes conveying exactly what you will expect to deal with TVDV's creepiest Icon of Sin overall (in my opinion at least). Not to be missed!

Doom Musings: Soundtrack Rankings: Requiem

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.