Halo 3: ODST Original Soundtrack

Strange things happen in this world. While Bethesda Softworks releases full-fledged DLC for Fallout 3 expanding the game for 10-15 hours, Microsoft Game Studios names its 5-hour add-on a spin-off. Even though it’s made for Halo 3. Though the zeal of the PR-department can and even should be understood. This year was poor for XBOX 360 exclusives that’s why Bungie had to quickly transform its underdone DLC (ODST was initially claimed as a stand alone disc game as a matter of fact) to a stand-alone game. As a result gamers got a nice though not very dramatically altered gameplay, outdated graphics and as many as 2 hours of music score. Fortunately, the rush hasn’t affected the quality of the product, nothing but its being annoyingly short. As for the music it’s quite the opposite – 2 disks after all.


ODST soundtrack is written quite in the spirit of the series, however, there’re some significant differences. Though the melodies stylistically remind of the “big” Halo, in fact there’s no leitmotiv on the record at all. Of course, at times one can hear references to the melodies of the third part ((The Office of Naval Intelligence), drums from the first edition (Bits and Pieces) or some harsh riffs from the second part (Traffic Jam), but most of the tracks are independent of each other. It’s hard to say whether it’s good or bad. But it’s most likely to be good, sounds fresh for sure.

The set of the instruments hasn’t changed a lot either. Here one can find not only an orchestra, but also some electronic pieces, savage drums and an awesome solo piano, which previously appeared in the third part. However, fortunately, Martin and Michael decided to add something else - gloomy, sad and sincere – which would ideally suit the heavy rain on the ruins of former greatness of earthlings. The choice fell on a lightly electronically processed saxophone. Tracks entitled Neon Night and Overture convey heartfelt greetings to Evanghelos Odyssey Papathanassiou (we know him as Vangelis) and his soundtrack to “Blade Runner”. When these tracks are accompanying the game the overall impression of similarity only strengthens. And again this is an advantage rather than a drawback.

A track named “Traffic Jam” is worthy to be mentioned separately. Cause it’s definitely a doozy. Here’re even 3 layers: orchestral, percussion and electro guitar. If only all the tracks in the game were up to the same par then, probably, the last paragraph would have sounded differently.


However, despite of all the obvious advantages of ODST music (including the skillful arrangement and a great mix of live orchestra sound and synth post-processing) it has the same problems as the game itself. Too little of “their own”, too much borrowed from “the big brother”, like a shadow of the second part. All this is especially noticeable both in general style and in music. When you listen to it you’ll understand what it’s all about. It’s something almost imperceptible, ephemeral, verbal. Like Halo 2 flew into the window and leaked into the speakers. Nevertheless this music goes excellently apart from the game, perfectly suits the melancholy mood and stunningly and scrupulously follows the game picture. It will be foolish of us to demand something more from a 2-hour record to a 5-hour add-on.