HEALTH habitually blend abrasive guitar and synth shards into clouds of heavenly opacity, tethered down by drum circles. You can never completely forget that some of it exists solely to make running down generic corridors feel heroic. It lumbers majestically through two modes, moody and awesome. But Max Payne 3 is still a pulse-pounding A-list action game, and the necessity for every rhythm to be impeccably flush, every change clearly telegraphed, keeps the music from feeling as dangerous as it might. This permitted HEALTH to create full-fledged compositions, from drafty FX hymns to throbbing anthems, instead of trying to rig up an album from bits of modular music- a challenge faced by Amon Tobin with valor but mixed success on his fifth album, the score for Splinter Cell 3. Max Payne 3 is organized around linear, contained events. It's a generous and commanding piece of work, slightly checked by the homogenizing pressures of its format. In between, a moment of suspense is trapped and prolonged, and the feeling that something momentous is about to happen seldom flags.
noise-rock band HEALTH's original score distinctively replicates this torpid frenzy, mostly by setting slow, languid themes against fast, urgent drums. He can also slow down time, turning frantic gunplay into underwater choreography in the manner of countless action films. Translated from the jargon, this means you peek over Max's shoulder as he hides behind stationary things and shoots at moving ones. The new video game Max Payne 3 is a third-person shooter that mixes cover-based and run-and-gun mechanics.
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