Mick Gordon (born 9 July 1985) is an Australian composer and sound designer… Read Full Bio ↴Mick Gordon (born 9 July 1985) is an Australian composer and sound designer whose compositions aim to transcend the perceptual boundary between music and its context. Mick’s work considers the role of music as a translation of the world in which it exists rather than a simple accompaniment. Through creativity, interpretation and collaboration he develops a meaningful exchange between the visual world and music culminating in the authorship of a unified original work of art.
Mick utilises a broad range of modern musical sound design and traditional composition techniques in order to be unconstrained by any singular genre. His music is inspired by the connection between the audience and the experience and seeks to overcome the separation between music and the world in which it exists.
Recently, Mick scored the video game DOOM - the return of id Software’s seminal first-person shooter. To illustrate the game’s portrayal of Hell and its insidious power he explored the role of energy in sound production and how the physical properties of analogue equipment can be imparted onto digital sources.
His award-winning interactive score for Microsoft’s reboot of KILLER INSTINCT featured a myriad of performers from around the globe. Mick collaborated with a viking choir in Sweden, representatives of the Nez Perce tribe in Idaho and numerous other performers, vocalists, lyricists and translators to produce its Amazon best-selling soundtrack.
Mick’s score for the video game, WOLFENSTEIN: THE NEW ORDER interweaves modern musical sound design techniques with 1960s style record production. He synthesised field recordings and transformed them into new physically playable instruments to create unique musical palettes. The score explores the role of distortion as a modern musical device. The process of overdriving various pieces of analogue equipment into extremes to create tension was used to represent the game’s chaotic villain, Deathshead. Additionally, to musically represent the rebellious plight of the heroes against their oppressors, Mick utilised vintage instruments, microphones and recording equipment to create music inspired by protest and freedom movement songs of the 1960s.
Mick Gordon is represented by the Gorfaine Schwartz agency.
Mick utilises a broad range of modern musical sound design and traditional composition techniques in order to be unconstrained by any singular genre. His music is inspired by the connection between the audience and the experience and seeks to overcome the separation between music and the world in which it exists.
Recently, Mick scored the video game DOOM - the return of id Software’s seminal first-person shooter. To illustrate the game’s portrayal of Hell and its insidious power he explored the role of energy in sound production and how the physical properties of analogue equipment can be imparted onto digital sources.
His award-winning interactive score for Microsoft’s reboot of KILLER INSTINCT featured a myriad of performers from around the globe. Mick collaborated with a viking choir in Sweden, representatives of the Nez Perce tribe in Idaho and numerous other performers, vocalists, lyricists and translators to produce its Amazon best-selling soundtrack.
Mick’s score for the video game, WOLFENSTEIN: THE NEW ORDER interweaves modern musical sound design techniques with 1960s style record production. He synthesised field recordings and transformed them into new physically playable instruments to create unique musical palettes. The score explores the role of distortion as a modern musical device. The process of overdriving various pieces of analogue equipment into extremes to create tension was used to represent the game’s chaotic villain, Deathshead. Additionally, to musically represent the rebellious plight of the heroes against their oppressors, Mick utilised vintage instruments, microphones and recording equipment to create music inspired by protest and freedom movement songs of the 1960s.
Mick Gordon is represented by the Gorfaine Schwartz agency.
Flesh & Metal
Mick Gordon Lyrics
We have lyrics for these tracks by Mick Gordon:
A Fridge Called Nora Баю-баюшки-баю, не ложися на краю Придет серенький волчок и …
I'm Back I use to be the flashiest star Chilling with cash and…
I. Dogma In the first age, in the first battle, when the…
III. Dakhma They knew he would come, as he always had, as…
Polemos Μάχη, Πόλεμος, Νίκη, Πόνος Δίκη, Πόλεμος, τρόμος παντού Μάχη…
Touch Me and I'll Break Your Face Woo, come on, yeah! Come and get it. Woo, yeah! Yeah come on…
Warlord Kung och Furste (King and Prince) Krigare (Warrior) Kejsare …
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Jeremy Redus
Meanwhile in Hell
Imp: Where's that strange sound coming from?
Hell Knight: You hear that too, right?
Imp: Yeah, and for some reason, it makes me want to throw my head up and down violently.
Hell Knight: And it seems to be getting louder...
(Distant shotgun blasts)
Hell Knight: What was that bro?
Imp: I don't know, but i can't stop headbanging!
Baron of Hell: Wait, is that the Doo-
vaporised by BFG
NDT_DYNAMITE
My neighbors listen to the Doom OST on full volume really early in the morning, at like 6 AM.
Whether they like it or not
lmao jk, I'm not a complete asshole. Joke's aside though, this is fucking badass music!
Illustrative Man
I can honestly say that musical cues in the soundtrack and the way music explodes during the battles hypes-the games into the stratosphere. Rarely does the music completely elevate the game, but this one truly does. Doom wouldn't be the same at all without the music. The bar has been raised.
Johan Bothma
Not so much raised, as obliterated into 10 000 splinters with a double barrel shotgun and then stomped into the ground by the Slayer's boot! And one of the few game soundtracks that I know of, that completely works as a stand-alone product without the gameplay to anchor it.
Rusty Shackleford
First soundtrack this good since ocarina of time
wooden roach
Shits so high sucks had to say stratosphere.
aszher
They made a special system where the music goes with the action. instead of playing the full theme it cuts it, goes back, adds intersections and does a build-up on after a glory kill
kent rio
@aszher also when you move left, right, forward and back the music changes
Zły Maciek
The way you made a guitar distortion of 93’ chainsaw sound... you’re pure genious!
Also DOOM soundtrack gibes 400% more power while heavy lifting, I strongly reccomend it.
daniel d martin
ok
wiLLiam
Yes
Toby Alexander
@United States the entire "guitar" section was either heavily inspired by a chainsaw or was ACTUALLY a chainsaw, not sure. But I wouldn't put it under Mick, seeing as he literally used a lawnmower he heard in his backyard for one of his songs in Eternal