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Were the songs wholly inspired by the game, or did you come into the sessions with prepared pieces and ideas? Levels would change pretty radically during the whole time we were composing, and we kept composing and changing things right up to two weeks before the release date. The game was still being worked on when we came on the project. Was the game pretty much finished at the point where they brought you in, or was it still a work in progress?
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Right after the dinner, I grabbed a friend’s PS2 and the first two games and beat them immediately. I was familiar with the games, but had never played them. Rockstar came to a show in New York and took us out to dinner late last year-a bit of a “cold call,” if you will. How and when was HEALTH approached to score Max Payne 3? Were you fans of the games? It was a side-scroller, beat-’em-up game that was completely driven by its pumping, emotional dance music soundtrack. What was the first time that music stood out for you in a video game? SOTC emailed with Famiglietti about making the Max Payne 3 soundtrack and how HEALTH hooked up with Rockstar Games in the first place. Ironically, in the act of adding dimension to an ultra-violent videogame, HEALTH evolves: “Tears” is a tableau of stuttering cyborg desolation, the sinister “Dead” seethes static and slow-motion explosions, and “Torture” bends plangent guitar figures into a meditation on loneliness, while “Max: Panama” evokes It’s All Around You-era Tortoise.
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What’s surprising is how easily the group adapted to the soundtracking genre requires, pouring its distinctive echoes and flutters into hair-raising interlude pools largely free of vocals yet as richly evocative as the verse-chorus-verse anti-arias on its studio records. News that HEALTH were scoring the third Max Payne video game didn’t come as a complete shock: there’s always been a pointedly cinematic cast to their sickly, undulating pulsations.
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Remember the look on Elijah Wood’s face in Return of The King, right after he’s been impaled and cocooned by that humongous spider? HEALTH embody that expression there’s something hopelessly beyond the pale about the sounds singer/guitarist Jake Duzsik, guitarist/keyboard player Jupiter Keyes, bassist/Zoothorn player John Famiglietti, and drummer B.J. On 2007’s HEALTH and 2009’s Get Color, the Los Angeles-based quartet seemed to specialize in what might be described as “Grim Reaper ambient”: vocals and tinny synthesizers bled through filters until impossibly brittle, riding a four-horsemen-of-the-apocalypse forward-momentum to its doom, drenched in absinthe.
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An enfeebling hollowness characterizes HEALTH‘s dark electronic pop.