The atmosphere is the thing along with authenticity of the picture which strikes into your heart in S.T.A.L.K.E.R.. Of course, there is a true living world (all right with some assumptions and mistakes), where couriers-stalkers are hanging around, there is an idea and the plot based on it, and the magnificent AI here. Nevertheless a gloomy reality of the ex-USSR area mixed with the heavy load of the past Chernobyl disaster, makes the most profound impression. And here she comes - the music you won’t hear.

4 versions of game soundtracks is known for certain to exist. The first ones are the crappiest. Throw them away from the project and life inside the game will become by far more pleasant and attractive. These parasites are stealing atmosphere and feeling of the game rhythm from the project, though these things don’t seem to be dependent on music.

The second ones are fakes which are utterly worthless out of the project but at any rate they don’t destroy the atmosphere. The absence of melody in such music reminds of the nonexistence of life in silicon structures called viruses.

The third ones are the favorites. Their concept and sophistication emphasize the advantages of the project. One can and should listen to them apart from the game. These tracks are composed by cool guys to whose rates of reward the sky’s the only limit.

And finally there’s the fourth type of soundtracks. It is the music that is entwined in the game’s body so tightly that you stop feeling it with you receptors. It’s beating in unison with the project’s heart being an integral part of it. It passes through our ears and settles down in your head. This music reflects the dark sky over your head, husky and hoarse stalker’s haul and impassive Geiger counter.

In my opinion many people will be surprised knowing that Stalker has its own soundtrack. The measured pulsing background, charming by its inhuman foreignness and causing a feeling of dreadful fear, paralyses and oppresses. Never before with the help of music you could sense the consequences of the disaster so realistic. The radiation background seems to be presenting right here right now and the phrase «microroentgen per hour» starts to make sense.

My respect to comrade MoozE who laid down year and a half of his life for this music. His material astonishes by detailing and work quality. What else can we say if there’s even a tribute to Mark Morgan, composer of Fallout, inspirer of Stalker: Radwind pt. 1 contains his distinctive motives and arouses an incredible nostalgia feeling and sensation that we’ve already been here. It seems that a painfully familiar Chosen one should appear from somewhere in his shabby cuirass with the GECK suitcase in his right hand.

And surely Dead Cities pt. 2 must be mentioned especially. The abandoned city seems to be intently following stalker with the dead men’s eyes so closely that your brain depicts absolutely apocalyptic scenes of neglectfulness and hopelessness even when you’re not playing.


The soundtrack is as powerful as art house film can be. Yea, unfortunately without the game this music isn’t for everybody. Everybody loves ambient, but not everyone is fond of good and non-standard music. Alas, it’s still a brand.

You can find 3 tracks of FireLake on the CD either. Contrasting with the basic part of the soundtrack they are closing the tracklist and introduce a fresh positive note which is the typical inevitable end for every legend and story.

The only thing remaining is the fact that OST CD doesn't contain the main theme of the game (and it’s a pity because this track is a really major backbone) and 2 tracks composed by Marcus Holler.


P.S. You can legally download complete STALKER soundtrack from our site. Big thanks goes to MoozE and GSC Game World. Proceed to download here.




OST Collector