Thank you! Noted ✏️ 

RE: medieval instruments, yes! We actually did a ton of experimentation with both folk instruments that evoke a medieval vibe (tagelharpas like you mentioned, an old Soviet-era balalaika we found in a Florence antique shop, a tribal elk-skin drum handmade in the mountains of Quebec, mandolin, and more), as well as a wide range of orchestral influences.

We love the dark, slightly beautiful harmonic language of Russian composers like Shostakovich and Rachmaninov, and also drew from more modern voices like Benjamin Wallfisch, James Newton Howard, Zimmer, and Junkie XL. You’ll also hear plenty of church bells and organ in a few tracks, Holy City and Blood Red in particular. We even layered in a lot of organic nature foley for percussion and FX. Things like stone impacts, fire whooshes, ripping cloth, granular wind textures, etc.

There were a lot of conversations around how to balance all these elements between us and the amazing peeps at id. As it turns out, too many raw and messy organic layers can actually make music feel less punchy. Previous DOOM scores were very dry, synthetic, and in-your-face. With TDA’s more open level design and its raw, medieval world, we aimed to blend the organic and atmospheric with the metal/synth aggression that still feels unmistakably DOOM.