The First Detective: How C. Auguste Dupin Changed Literature Forever

Before the deerstalker hat and the magnifying glass, there was the shadow and the candlelight of C. Auguste Dupin.

When we think of the modern detective, our minds often drift to 221B Baker Street. However, to find the true architect of the mystery genre, we must travel further back to 1841. With the publication of “The Murders in the Rue Morgue,” Edgar Allan Poe did more than write a story; he birthed an entire genre. C. Auguste Dupin wasn’t just a character; he was the blueprint for every brilliant, eccentric sleuth that followed.

Ratiocination: The Logic of the Dark

Poe called his detective stories “Tales of Ratiocination.” This wasn’t merely about solving crimes; it was a psychological exercise. Dupin possessed the unique ability to “unmask” the criminal mind by becoming one with it. This internal conflict—the thin line between the genius and the madness of the analytical mind—is a recurring theme that defines the Poe aesthetic.

The Birth of the Noir Protagonist

Dupin is a quintessentially “Noir” figure. He is an aristocrat who has lost his fortune, living in a “time-eaten and grotesque mansion” in Paris. He prefers the darkness, closing the shutters during the day and only emerging at night to wander the fog-shrouded streets. This atmospheric tension is exactly what we translate into our music—it is the sound of the unknown lurking in the shadows. Just as Poe explored Poe’s influence on modern culture, we can see Dupin’s DNA in every film noir detective ever captured on screen.

From “The Raven” to the “Rue Morgue”

While many know Poe for the rhythmic despair of “The Raven” or the beating heart of “The Tell-Tale Heart,” his detective work shows a different side of his brilliance. It is the cold, sharp edge of logic applied to the most gruesome of circumstances. Whether he is dissecting the physics of the universe as seen in Poe and Quantum Physics or solving a locked-room mystery, Poe’s mind was always looking for the underlying patterns.

Conclusion: The Eternal Mystery

C. Auguste Dupin remains relevant because he represents our desire to find order in chaos. He showed us that the greatest mysteries aren’t found in the clues on the floor, but in the dark corners of the human psyche. As you explore the deep melancholy of “Annabel Lee,” remember that the same mind that mourned lost love also pioneered the science of the sleuth.

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Hear the Noir influence in our music:

Explore the complete Edgar Allan Poe Archive for more gothic stories and analyses.

The post The First Detective: How C. Auguste Dupin Changed Literature Forever appeared first on Edgar Allan Poets – Noir Rock Band.

(written by Islander) Prepare to jump off your usual beaten tracks, indeed off the tracks of the world altogether, as we present Carmina Inferorum — Latin for “Songs of he Underworld”. This is the debut album of the mysterious Polish avant-black-death-metal band KUR•NU•GI•A (not to be confused with the Ohio death metal band Kurnugia or […]

The post AN NCS ALBUM PREMIERE (AND A REVIEW): KUR•NU•GI•A — “CARMINA INFERORUM” appeared first on NO CLEAN SINGING.

Bringing the wrath this fall.

The post Arch Enemy & The Black Dahlia Murder Announce North American Co-Headlining Tour, Septicflesh, Crypta & Thrown Into Exile To Open appeared first on Theprp.com.

The post Green Lung Announce Their ‘Dance To The Grave Tour MMXXVI’ appeared first on The Razor's Edge.

The culture-melding Colombian Canadian musician Lido Pimienta returned from a half-decade break between albums with last year’s classical excursion La Belleza. Having conquered that stuffy realm, she’s loosening up and having fun on new album Caribenya, due out in July. The title is a portmanteau combining Caribe, referring to the indigenous Caribbean population, and Enya,…

The post Lido Pimienta Announces New Album <em>Caribenya</em>: Hear “Tóxica” appeared first on Stereogum.

by David Campbell

Canadian-born vocalist/instrumentalist DEVIN TOWNSEND is well-known within the annals of Progressive music these days. My first introduction to him came at the hands of guitarist Steve Vai in 1993, when he was approached by Vai’s record label to provide vocals on the album. Right away, I was struck not only with his range, but also his power and his ability to sing in a few different styles. The story has it that after recording and touring with Vai, he was discouraged by what he found in the music industry. So, he went back to Canada and formed his own bands called STRAPPING YOUNG LAD, releasing the critically acclaimed album “City” in 1997. He went on to release more music with his band, and then took a hiatus in 2007, returning a few years later with THE DEVIN TOWNSEND PROJECT. Releasing four albums with them, some with varied styles, Progressive Rock/Metal has always been in his bones. In 2017, he began to conceptualize this massive project called “The Moth.” Following an acoustic show in Amsterdam, Townsend was approached by the head of the North Netherlands’ Orchestra and Choir with an offer, and with that moment, “The Moth” stopped being an idea and began to become a reality.

It’s an ambitious undertaking, to say the least, and amounts to an orchestral project containing 24 songs. The story goes that he had to re-teach himself how to compose at that level, studying harmony and orchestration from scratch to properly write for orchestra rather than just layering synths or guitars. Thematically, the album revolves around transformation and self-acceptance, with the “moth” acting as the central metaphor: an animal drawn so completely to the light that it risks destruction, mirroring the human tendency to confront painful truths about ourselves. Unfortunately, I have already heard some negative buzzing about the album here and there, but I am not going to make up my mind until I have digested the album fully. One thing I have always learned with Devin is not to underestimate him. He seems to have an endless repertoire of music at his disposal, and long, deep pockets that he often packs with melodies for a rainy day. With all this in mind, let’s get to the music.

The album seems to unfold in stages, as do the stages of the life of a moth.

Stage One: The Awakening

The entering song, “Semi-prologue” sets the stage for the album, with Devin’s soothing vocals and some backing symphony with heavy tones that are prophetic at times. He clearly states, “it’s too late to run away,” and that it the invitation you need to step further into his world. “War Beyond Words” hints at the first conflict on the album. The drums and weighted guitar tones echo this sentiment, but as heavy as they are, Devin is also able to hold them in restraint at times. Turning the page quickly, the first utterances of harsh vocals are as dark as a black thundercloud. He is able to shift between these varying passages with transitions that are so smooth, you hardly notice. Like a theater of tragedy, every instrument and every note works like oil to the gears of his vision. “The moth” awakens and unfolds a new landscape for you to marvel at, and heavy brass swells like an ocean wave rising following a storm. Some of the songs on the album are short and built to make connections from one section of the album to the next. Effectively, they ensure that the story stays on the path and that questions are answered along the way.

Stage Two: A Clash of Power and Identity

“Enter the City” is like rounding the corner of your travels and encountering towering gold peaks of a city. They are so grand, you just stand there and marvel at them for hours, studying every intricate detail. Devin uses the ebb and flow of the music, including magnanimous crescendos, to immerse you in the direction that the album is headed. “Covered by Cause” is the first lengthy offering, and despite some thundering chaos in the first bar, it settles warmly. His versatility as a songwriter and performer are second to none. He can be as gentle as a lamb, or as angry as a lion. He trades vocals with a woman here in a tale of wonder, and the French horn notes are nothing short of majestic. Delivering the massive chorus that he does is nothing new to Devin. “Lexin” is probably the first jovial song on the album, and it’s one where you can put the story aside for a bit and just enjoy the song. It’s fun, catchy, and even a little quirky at times. In other words, signature Devin.

Onto some real conflict now, “Runaways” brings us back to the beginning of the album with the phrase, “it’s too late to run away,” and “A Proxy for God” bring wrath…fire and brimstone as one would find in the Old Testament of the Christian bible. “Orion” is a giant, handsome hunter in Greek mythology who was placed among the stars as a constellation. You get a sense of the gravity of Orion’s placement into the immortal heavens in the song, which flows freely from melodic hooks to heavier passages, and offers some other comic vocal effects. “Stay There” brings light back to the room once again, and you can hear true resolve in his vocals. He states emphatically, “I close my eyes, and I see your world through a different lens.” A Step towards greater understanding? “Home at Night” hears the grand tale continue, and Devin’s operatic vocals are exceptional here. Show me another artist who has his range, please. This tale will sweep you up in a tornado of sound that is harmless at times and downright angry at others. The key to these things working as well as they do is the timing of his segues and transitions.

Stage Three: Intermission

In true theatrical form, the “Intermission” is a five-minute bridge from the first half of the album to the second, as well as a point where you can hear the focus shift. It’s an instrumental that uses ambiance and space to raise your sense of awareness. I feel like a scene is unfolding of the canopy of stars on a clear summer night, and it serves as a reminder of the sheer vastness of the universe. You can’t help but stare upwards, and soak in what little piece that you can see with your naked eyes. It’s nothing short of pure wonder, and it primes you for the upcoming run of the songs that follow.

Stage Four: Reflection and Transformation

Following two shorter pieces in “Lexis Returns” and “The Clergy,” whose ominous tones seem to reflect someone struggling with the belief in a higher being, “Prepare for War” is a seminal song on the album. As expected from the title, it chronicles someone who feels the haste of an impending battle, as someone quickly and dexterously tries to gain the best position of strategy against the imposing force. The closing instrumental passage is foreboding to say the least. “The Big Snit” hears the ominous sound not only continue, but grow with each passing note. The orchestral elements have a massive footprint, and Devin’s vocals are incensed, as he screams at the top of his lungs. Seguing into “Silver Princess,” you can see the central transformation that defines the album…from a caterpillar to a beautiful moth, with markings that don’t seem to come from this world. The music plays right in line with the visual, supporting the metamorphosis literally and figuratively. Towards the end, it roars back, like cold winds blowing in from the North.

“Metamorphosis” is the culminating track, and the transition is complete now. Off he flies…in a sense of euphoric release. The music swells with feeling and with power, and the hairs stand up on the back of your neck. It’s like witnessing something that most people never get to see in their lives. “Stained Hearts” implies that someone still carries love or humanity, but it has been “stained” by destructive choices. This is the very heart of the album in many ways, and might seem like the natural end, with big hooks and sing-along melodies. But the tale has one more song, seemingly out-of-place song called “We Don’t Deserve Dogs.” The song makes Devin seem more human to me, and it’s so sweet. His vocals are warm, inviting, even soothing. Dogs are amazing creatures. We’ve all heard stories of how some of them travel hundreds of miles to reunite with owners, and how others have rescued their masters from sure death. Maybe they are to be revered?

In my research about the album, I read that Devin said the story of the album follows someone realizing their old patterns no longer serve them and they are forced into uncomfortable self-examination. It’s a painful transformation that many of us have to face in life, some not voluntarily. Think about it. How many of us are actually that self-aware? How many of us truly like the process of change?

Ambition is defined as a strong desire for achievement or success. In the context of this album, the term falls short of describing the undertaking and scope of creating a musical score so utterly complete. The music on the album…put simply…is stunning. It’s the kind of album that you have to set time aside to listen to in one sitting, so that you can hear the seamless transitions between movements and every little nuance along the way.  With The Moth, Devin Townsend delivers a work of remarkable depth, scale, and imagination that few artists would even attempt, let alone execute with such conviction.

Order here: https://dvn.lnk.to/TheMoth

The full track-listing is as follows:
1. Semi-prologue
2. War Beyond Words
3. The Moth
4. Ode To My Eye
5. Enter The City
6. Covered By Causes
7. Lexin
8. Runaways
9. A Proxy For God
10. The Mothers
11. Orion
12. Stay There
13. Home At Night
14. Intermission
15. Lexin Returns
16. The Clergy
17. Prepare For War
18. The Big Snit
19. Silver Princess
20. A Life in Review
21. Metamorphosis
22. Stained Hearts
23. Let Go
24. We Don’t Deserve Dogs

The post Devin Townsend – The Moth (Album Review) appeared first on The Prog Report.

Metal bands, for the most part, have withstood the test of time. This is a genre that excels when it comes to an artist’s longevity. However, this doesn’t mean that there aren’t a lot of groups that should know when to call it quits. In that regard, this piece is going to highlight a series of bands that should just retire at this point. This is not meant to be a personal attack. It is a mere personal perception.

1. Motley Crue

There is no denying that Motley Crue has gone through a lot. Feuds, controversies, losing popularity, line-up changes, vices… they are every cliche you can expect from the genre. Among metal bands, very few can claim to have lived as much as they have. However, that also means that it is time to call it quits.

The band hasn’t been productive for a long time.  Their last truly strong album came out in 1994, the self-titled one with singer John Corabi. But the band has been going from weakness to weakness ever since. Their live performances have gotten weaker, singer Vince Neil can’t do it like before, and losing guitarist Mick Mars, which involved a lawsuit, was another major factor.

Motley Crue is one of the most iconic 80s metal bands. But it is time to ride into the sunset. False attempts at retirement are not fun.

2. Scorpions

Among German metal bands, the Scorpions are certainly the biggest. Moreover, they were the first to put Germany’s flag on the genre’s map and cemented themselves as one of the greatest musical acts of their generation. The fact that the group has been kicking since the late 60s is insane when considering their dedication and output.

That is admirable… and that is why they should retire. The Scorpions played with the idea of retirement in the 2010s, but they continued to perform ever since. They haven’t stopped, but they should. There is a point where a group should retire and enjoy the fruits of their labor, which is the case with this band.

3. Judas Priest

This might be among the most controversial. Judas Priest is one of the oldest metal bands that are still kicking and certainly one of the greatest. Their history, accolades, achievements, and impact within the metal genre cannot be disputed. And much like the Scorpions, they should retire for their own sake.

When considering all the different health problems that have affected the band, such as the ones that afflicted Rob Halford, Richie Faulkner, and Glenn Tipton, it is time to call it quits. Judas Priest have done it all, seen it all, and deserves a lot of recognition. However, it is obvious they should stop now.

Faulkner claimed in March, 2026, that they are working on a new record. That’s well and good, but the grueling touring schedule is no longer suiting them. It is also honorable to know when to retire.

4. Saxon

This one is a tough pill to swallow. Among metal bands, very few have been as consistent as Saxon. These NWOBHM legends have been performing and recording since the 70s. They have never stopped and have shown time and time again that they can deliver quality material. Therefore, all of that makes the idea of retirement a lot more painful.

The band is not only getting older, but singer Biff Byford has been dealing with health problems in recent years. While everyone hopes that he can recover fully, and we certainly agree with that, it is a sign of the times. It would be fitting for Saxon and Mr. Byford to retire while they can still make that decision. If not, it would be another case of a band stretching itself too thin during their latter years.

No one wants to see Saxon retire. They are one of the most underrated metal bands in the genre. However, even the best must know when to retire. And Byford‘s health problems are an example of that.

5. Deep Purple

Now, some people might claim that Deep Purple shouldn’t be among metal bands, but their influence cannot be understated. They are a significant part of the genre as a whole.

Be that as it may, there is no denying that Deep Purple have had an interesting last couple of decades. After the definitive exit of guitarist Ritchie Blackmore in the early 90s, the band has managed to create a very consistent output of albums. Some of the albums during this era are among the finest and most underrated in their catalog.

However, time has also caught up to them, which is understandable. These gentlemen have been performing since the 60s and it is only natural that time took a toll on them. Even singer Ian Gillan has been struggling with his eyesight in recent years. Therefore, it would be best for the band to stop now since they have given it their all and deserve to rest after such a monumental career.

6. Slipknot

This might be among the most controversial metal bands on this list. That is because, when compared to other groups here, they are significantly younger. However, that doesn’t keep them from having their fair share of problems.

Slipknot has been dealing with internal strife since the very beginning of the group. This is something that has been stated by band members time and time again throughout the years. But beyond the personal issues, health problems have also taken a toll on them. Vocalist Corey Taylor has even mentioned how much pain he goes through to perform live with the band.

There is also the fact that the band no longer has much to say from a musical perspective. This may be harsh, but it is not meant to attack the group in any meaningful way. However, there is no denying that the quality of their output has decreased significantly over the last twenty years or so. Therefore, it might be time for the Slikpnot guys to go their separate ways and focus on other projects.

7. King Diamond/Mercyful Fate

King Diamond has been one of metal’s greatest singers. Ever since he started in the early 80s with his band Mercyful Fate in Denmark, he has been a man on a mission. Whether it’s touring or performing, this singer has given it his all for decades.

However, much like other examples on this list, aging and health problems have affected him in recent years. King Diamond has had to go through surgeries, special treatments, and more, which have resulted in fewer albums being released and fewer shows taking place.

Therefore, while it would be tragic for one of the most influential metal bands of the 80s to retire without a memorable fanfare, it would also be the best decision. Health comes first and King Diamond has already proven his mettle as a musician.

8. Metallica

This is one that a lot of people could see coming. Metallica is one of the greatest metal bands of all time. Some might even call it the greatest. They have managed to break barriers and become icons of music as a whole. Wherever you go to, people know this band. But there is also no denying that it is time for them to call it quits.

One of the biggest reasons is that the group has not been able to say anything musically for quite some time now. Every album the band has made since 2008’s “Death Magnetic“, and even several prior to that, has been met with divisive opinions. Since 1991’s self-titled record, no Metallica album has been received extremely well. And as the years went by, the band has slowly lost what made them tick from a musical perspective.

Moreover, there is also the factor of time. The band is getting older and recent live shows have proven that. Therefore, it is only logical for them to stop at some point. Even better, they should do it now since they have the capacity to do so. Metallica has conquered the world of music. As a metal band, that is a massive achievement, and they deserve to retire on their own terms.

9. Yngwie Malmsteen

Saving the best for last. While it would be unfair to add Mr. Malmsteen among metal bands since he is a solo artist, the gist of the idea still remains. He is one of those artists who should retire, and should have retired a long time ago.

It has been almost two decades since Yngwie has released a high-quality album, and has been getting worse ever since. Furthermore, his inability to maintain a stable lineup has taken a toll on his projects several times now. This has also been a problem when it comes to live performances, leading to issues with people here and there.

It is very obvious that Yngwie is one of the greatest metal guitarists to ever live. But between bad decisions and not knowing how to carry himself, he has made his bed.

The post 9 Once Great Metal Bands That Should Just Retire Now appeared first on Metal Shout.

At the end of 2024, the Polish one-man black metal project Svar released its debut full-length album In the Land Called Night through the local underground label Via Nocturna. Rather than reinventing the wheel, Svar is strongly motivated by Scandinavian black metal of the 1990s, seasoning it with a vivid melodic edge. There are no major revelations here, but the material is solid in the classical sense – professionally executed and filled with melodies genuinely pleasing to both ear and soul.

Svar is a relatively fresh project created in 2020 by Kraków-based multi-instrumentalist Kamil “Hexed” Bolesta, who is also active in the local band Void of Sympathy, a band rooted in a more modern melodeath/groove direction. With Svar, however, he has complete artistic freedom, and it is really noticeable how much energy has been poured into the music, arrangements, lyrics, and artwork. Because of that, In the Land Called Night radiates something sincerely heartfelt and energizing. In recent years, Poland has seen an explosion of new extreme metal bands, especially within black and death metal realm, and many of them begin by imitating their favourite artists before gradually developing a sound of their own. Svar currently stands on an invisible border: still deeply inspired by Swedish melodic black metal, yet already revealing the first sparks of individuality throughout In the Land Called Night. Before this debut, Kamil released two Extended plays – “Behind the Veil” in 2021 and “Under a Sky Full of Thunder” in 2022. Those EPs felt like a warm-up; the debut, meanwhile, showcases his progress in a very traditional way, yet with elegance, avoiding both excessive ornamentation and dissonant detours.

Online, In the Land Called Night is often described as a pagan/black metal album, though in truth there are no real folk elements in the music itself. The mythological aspect exists mostly within the lyrics, particularly on “Expelling the Zmei” which draws inspiration from Slavic legends. In that sense, the purity of the black metal here is not merely conditional – it is fundamental. The flirtation with melody naturally points Svar towards the roots of melodic death metal, which rather quickly branched off into what later became melodic black metal, and traces of both subgenres can clearly be heard throughout the album. Scandinavian melodic extreme metal is famous for its melancholic atmosphere and luminous melodies, with some bands eventually drifting towards dark metal territory – closer to gothic music than black metal, but certainly not Svar. Harshness and atmosphere matter more here than romantic ennui or subdued tenderness. There is no room for sluggish sorrow; instead, the album is steeped in misanthropy and nihilism. Even listening to In the Land Called Night on a scorching summer day, you still feel pierced by cold.

The album opens with “Through Lakes, Forests and Swamps” in a fairly traditional manner – engaging black metal, moderately raw, atmospheric, slightly restless, with highly melodic guitar solos. It is interesting how traces of something almost progressive occasionally emerge, though without artificial technicality or excessive drama, especially on “Expelling the Zmei” and “Lost in the Carpathian Forest,” the latter dedicated to Valfar of the legendary Windir, who died more than twenty years ago during a snowstorm in a Norwegian valley. At times the black metal itself retreats into the background, making it feel as though you are listening to authentic Swedish melodic death metal straight from the 90s, particularly on “Venomous Words of Virtue” and the title track “In the Land Called Night”.

Svar’s creation is not about overwhelming atmosphere or depressive gloom. It is more about a distant light concealed beneath layers of eccentric and grotesque shadows – apathetic and dark on the surface, yet carrying faint traces of optimism underneath. The nocturnal theme captures the soul of this music perfectly, which is why both the title and the album artwork (mysterious and painted in cold blue tones) reinforce the value of this mystical time of the day. The tension is sustained by a constant undercurrent of anxiety that infects every composition with an invisible aura, preventing the album from slipping into passive background listening. Yet at the same time, the music is not so complex that it becomes difficult to absorb; even during first try, both the technical details and emotional layers can be neatly unpacked and comprehended. There is no feeling of incompleteness here, which makes In the Land Called Night feel cohesive and mature.

The black metal scene is currently going through relatively calm times – not a crisis, but certainly not receiving major mainstream attention either. Of course, the legendary names remain on the surface, having earned their reputations through sweat, spilled blood, perhaps even a few burned churches or maybe simply through excessive poser attitude; every listener decides that delicate question for themselves. The last real wave of controversy and heightened attention came when post-black metal suddenly drifted towards fashionable alternative genres, making debates over whether a more or less traditional black metal band was “true” enough begin to sound almost absurd compared to what is labelled black metal today. Bands like Svar, however, have no interest in such cultural skirmishes, instead choosing a smaller niche while remaining faithful to the genre’s canon and aesthetic principles.

We haven’t heard from Liquid Mike since Hell Is An Airport, their banger of an album, arrived last September. That’s not that long of a break, but the Michigan band is known for cranking out ultra-catchy, caffeinated rock anthems on short turnaround. Today, the drought ends with “Drowning Machine,” Liquid Mike’s new single. Its lyrics…

The post Liquid Mike – “Drowning Machine” appeared first on Stereogum.

STREAM THE METAL BREAKDOWN DAILY BELOW:

In a historic victory for gaming culture and the heavy metal community, the iconic 1993 DOOM soundtrack has officially been inducted into the United States Library of Congress’ National Recording Registry. The MIDI-based score, which served as a gateway to thrash and groove metal for an entire generation of gamers, was honored this past weekend alongside global pop titans like Taylor Swift and Beyoncé. This rare accolade cements DOOM not just as a pioneer of the first-person shooter genre, but as a “culturally, historically, and aesthetically important” pillar of American audio history.

From MIDI to Metal: The Riff-Driven Legacy of Bobby Prince

When id Software co-founder John Romero set out to create DOOM, he didn’t just want a violent game; he wanted a playable metal album. “We were all total metalheads,” Romero recently told Metal Hammer. To achieve this, he sat down sound designer Bobby Prince—who ironically wasn’t a metal fan—and handed him a stack of CDs from Pantera, Slayer, Alice In Chains, and Accept.

Prince’s challenge was to translate the crushing riffs of Dimebag Darrell and the dissonant speed of Kerry King into 8-bit MIDI files. The result was a soundtrack that felt “genuinely shocking” for 1993, featuring tracks like “At Doom’s Gate,” which famously mirrored the rhythmic intensity of Pantera’s “Mouth for War.” For many young players, including Bury Tomorrow bassist Davyd Winter-Bates, these digital riffs were their first exposure to the genre. “I was listening to those 8-bit riffs like, ‘This isn’t pop music!’” Winter-Bates recalled. “My love of thrash comes from slaying beasts in DOOM.”

The Evolution: From 8-Bit Riffs to ‘The Dark Ages’

The induction into the Registry, which currently holds fewer than 800 recordings, puts DOOM in elite company. To date, the only pure metal album to make the annals is Metallica’s 1986 masterpiece Master of Puppets. However, the DOOM musical legacy has only grown more intense with time.

In 2016, composer Mick Gordon revolutionized the franchise’s sound with a “Djent-inspired” industrial score that utilized an array of vintage Russian synthesizers and a “heavy metal choir.” This evolution continued through Doom Eternal and into last year’s 2025 blockbuster release, Doom: The Dark Ages. The modern soundtracks have moved away from MIDI tributes to become high-fidelity, standalone metal achievements, frequently topping digital streaming charts and winning “Best Score” accolades at The Game Awards.

We Also Recommend – SONIC TERROR: The 13 Most Insane Extreme Metal Subgenres You (Still) Haven’t Heard

A Class of Titans: The 2026 Inductees

The National Recording Registry adds only 25 recordings per year. The DOOM soundtrack entered the archives this past weekend as part of a diverse class of 2026 inductees, including:

• The Smashing Pumpkins: Mellon Collie and the Infinite Sadness (1995)
• Weezer: The Blue Album (1994)
• Taylor Swift: 1989 (2014)
• Beyoncé: “Single Ladies (Put a Ring on It)” (2008)
• José Feliciano: “Feliz Navidad” (1970)

FAQ: DOOM Soundtrack and the Library of Congress

Why was the DOOM soundtrack added to the Library of Congress? It was selected for its aesthetic and historical significance, specifically how it pioneered the use of metal music in gaming and influenced an entire generation’s musical taste.

Who composed the original 1993 DOOM soundtrack? American sound designer Bobby Prince composed the original MIDI score, using reference tracks from Pantera and Slayer provided by John Romero.

Are there other metal recordings in the National Recording Registry? Yes, but the list is extremely short. The most notable inclusion is Metallica’s Master of Puppets, which was inducted in 2016.

Check This Out – The 13 Most Brutal Metal Breakdowns Ever Recorded (Ranked)

Franchise Bio: DOOM

Founded by id Software in 1993, DOOM is credited with popularizing the first-person shooter (FPS) genre. The franchise follows the “Doomguy,” a space marine fighting demonic forces from Hell on the moons of Mars. Beyond its technical innovations, the series is inseparable from heavy metal culture, frequently collaborating with or inspiring artists like Trent Reznor (Nine Inch Nails) and GWAR. The latest entry, Doom: The Dark Ages (2025), continues the series’ legacy of high-octane violence and industrial-metal scores.

STAY LOUD: Catch the full breakdown of today’s stories on the Loaded Radio Daily Podcast with Scott Penfold, or crank the hard rock and metal 24/7 on our live digital stream at LoadedRadio.com.

TL;DR:

The original 1993 ‘DOOM’ soundtrack has been inducted into the National Recording Registry, joining Metallica as a permanent fixture of American cultural history.

Does the induction of DOOM prove that video game music is the ‘new’ classical for the modern era, or does Bobby Prince deserve even more credit for tricking millions of kids into becoming metalheads? Let us know your thoughts in the comments below.

The post Doomguy Goes to Washington: Legendary Metal-Fueled ‘DOOM’ Soundtrack Inducted into U.S. Library of Congress appeared first on Loaded Radio.