Gamespot a discuté avec Amon Tobin. Le passage le plus intéressant de l’interview concerne la façon dont Amon a découpé la musique en couches qui se superposent les unes aux autres suivant ce qu’il se passe dans le jeu :
[…] It was more a case of making a track and then splitting it into different layers to express a sort of stress and intensity. The different layers get triggered as the character does different things in the game. So, for instance, in the game you won’t hear the music in the same way as you hear the CD. That’s because on the CD, all the layers are there, and they’re all playing at the same time. In the game, if the character is creeping around, you might only hear certain elements of the track. And as events happen, as things get more stressful in the game, new layers come in, and different transitions into new layers. So it’s constantly moving in the game, and changing, adapting to what you do.GS: But you said the actual album has all the layers at once simultaneously?
AT: Well, yeah. What it is, is that I made tracks which were about six to eight minutes long, and then I split them into four layers of stress. I made the tracks to work like that, so each layer, from things like stealth to extreme stress, would work independently of each other, and also together […]