Chaos Theory Delivers

Video game soundtracks have historically never provided much thrill for the audiophile. Most serve as promotional tools for individual music labels looking to impregnate players' minds with the latest neu-metal, rap-core or mall-punk act they wish to fast-track onto the Warp tour roster. If the soundtrack is not a compilation of demographic specific songs then it is "atmospheric" which in so many ways is worse. You can almost hear some suit and tie sales person enthusiastically describing to the musician how the game soundtrack should be "spooky," "aggressive" or "ethereal." Generally they all just come out sounding like music web-designers would have listened to in the late nineties: predictable and boring.

Fortunately the third installment of Splinter Cell caters to gamers and audiophiles alike. Sonic frontiersman Amon Tobin has crafted a genuine score which pays homage to filmmakers and composers of the past. The opening piece entitled "The Lighthouse" drafts a straight line between the compositions of Ennio Morricone and modern post-drum and bass electronics. Amon Tobin employs an array of lush electro-acoustics in this opener including strings, water-phone and a spaghetti western bass-line that sounds jacked on caffeine.

Again this soundtrack is in actuality a score. Amon produces mutating atmospherics which periodically resurface providing linear themes. I can only assume the unified atmosphere corresponds gorgeously with the game itself. I must admit, listening to Chaos Theory makes me want to dedicate a gross number of hours exploring the virtual world of Splinter Cell. In fact which ever level uses the track "El Cargo" I would purposefully replay it just to hear the songs' addictive guitar looping and infectious sustained backing vocals.

Without question Amon Tobin has crafted what may become the marker for all proceeding video soundtracks to be measured against. I think you will agree once you find yourself putting down the game control in order to simply listen to the music.