These twin tendencies toward melody and majesty inform much of the soundtrack. If HEALTH’s early records sounded like, as one commentator put it, “the sound of robots fucking,” songs like “Drugs Beach,” “USA Boys,” and “Tears” (the only proper HEALTH “song” featured on the Max Payne 3 soundtrack) sound like robots being ushered before the throne of judgment. While still punk in spirit and unquestionably noisy in execution, the handful of tracks that HEALTH has eked out since 2009’s Get Color have tended towards grander, more ethereal textures. quartet wore so comfortably for their first couple of releases seems a little ill-fitting these days. Of course, the “noise punk” classification that the L.A.
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I can’t help but think back to the late 90s when ID software called upon Trent Reznor to create the music and sound effects for the original Quake like Nine Inch Nails, HEALTH is a singular act with its own sonic vocabulary. While HEALTH might seem like an odd choice to score such a high-profile release, given their relative commercial obscurity, their status as noise-punk auteurs makes their selection seem, in retrospect, almost inevitable. With this growth in visual sophistication and narrative complexity, it’s only natural that game developers should strive for their soundtracks to meet the same standards of maturity and seek out talent that can take the aural content of their game to the next level. The past 15 years or so have seen video games evolve from crude tests of hand-eye coordination for sedentary children into something approaching an “art” form.
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