I’ve become quite a soundtrack fanboy over the past year or so.  My responsibilities at work have shifted such that I’m spending much more time in my office and less in the lab.  That said, my brain is wired in a fashion where music with lyrics is very distracting when I’m writing or reading.

To me, lyrics are as integral to the experience as the music itself, so I’ve never been much of an instrumental music fan.  As such, I’ve had to augment my library to accommodate my new position, as no music at all would probably cause me a similar productivity hit (and/or psychological break).

Enter the video game soundtrack.  To some extent, this pursuit started with the excellent computer RPG The Elder Scrolls III:  Morrowind.  Friends will recall that with the purchase of this title, I practically dropped out of society during my off hours in feverish and sleep-deprived exploration of this ashen and wind-blown virtual island.

Part and parcel to the consentual Morrowind hallucination, however, was composer Jeremy Soule’s incredible, atmospheric soundtrack, which happened to be included on audio CD with my collector’s edition box.  I found myself listening to that disk frequently during my commute and off hours, and I found it to be very evocative of the game experience, and always filled me with the serene wonder I’d felt wandering the isle of Vvardenfell.  This album still remains my go-to piece when I’ve had a stressful day at work and need to wind myself down.

Flashing forward to recent months, game soundtracks constitute a large slice of my on-the-clock music consumption.  Much of the work is really quite amazing.  Granted, as the gaming industry continues to grow, projects become more monumental, and production budgets inflate by orders of magnitude, it is no surprise that the quality of soundtrack composition has evolved as well.

The Halo series is a perfect example.  Marty O’Donnell’s work on Halo 2, Halo 3, and now ODST is really some great music for the workplace.  Both energetic and evocative, and the perfect compliment to spreadsheet slaying and inbox immolation.

Another fantastic album is the Mass Effect soundtrack.  Jack Wall and Sam Hulick’s compositions are an amazing atmospheric tableau, and so reminiscent of 80’s sci fi movie soundtracks, including some crazy, frenetic John Carpenter-esque keyboard work.

Of course, I can’t discuss video game soundtracks without mentioning Blizzard Entertainment.  These folks’ quest for quality is understood among game geeks, and their audio has always been a step ahead of the industry at large.  The Burning Crusade and Lich King soundtracks were fantastic, as well as the Echoes of War compilation courtesy of Australia’s Eminence Symphony Orchestra.

Here’s to hoping that Gearbox deigns to release the OST for their recent bazillion-gun-laden title Borderlands – some of the driving tracks that cue during big combats are quite catchy.  The title track in particular caught my – well, ear – and after a quick Google, I immediately snagged the Cage the Elephant album from Amazon’s MP3 store.  Happily, these guys have become my favorite new rock act for the year.

I’ll leave you with an obscure one.  The Frenchman Cristophe Heral’s soundtrack for the original Xbox sleeper Beyond Good & Evil is some amazing stuff.  Quirky, whimsical, upbeat, and featuring some truly interesting vocal work, this one is worth the efforts you may have to expend to obtain a copy.  I’ve been enjoying this album for some time, and to be honest have only finished the first couple chapters of the game itself.

If you find yourself enjoying the soundtrack for the latest A-list Xbox release, or your favorite sci fi TV show, get out there and look for the soundtrack.  I’m certain you’ll find them a great addition to your commute or workday audio.  The Jason Hayes’, Derek Dukes, and Bear McCreary’s of the world are out there working their tails off to spice up our games and shows – buy a few CDs and support their exemplary efforts!