![]() Do you think that’s helpful when you are making the music itself? Photo by Michal Pajdiak.įrom what I understand, you were very involved in other aspects of making the video game as well. It took me almost three years to finish it. Samorost 3 was a really big project I’ve never worked on such a big project before. Often, I found myself doing crazy experiments without the computer, just trying to create strange sounds or unusual musical instruments. So for me, it was really interesting to explore these more natural aspects of musical production, especially in comparison with Machinarium, which was more vintage electronic. The Samorost universe is very organic, but also very surreal, sometimes almost psychedelic. I just love the world the guys created it’s very inspiring and unique. The biggest inspiration is the game itself. What were some of the inspirations for the score musically? How long was it in the works for? Your Samorost 3 soundtrack has gained a lot of recognition, as has the game. I’ve actually never worked on another game soundtrack. Admittedly, the main reason I’m doing game soundtracks is the world of Amanita Design (a game developing company). But on the other hand, it often means developing interesting strategies in regards to how the music is “triggered,” how it is going to evolve or how it’s interacting with the user. On the one hand, it gives you more freedom to work with the image, because both elements are not so closely tied together. What do you find most interesting about video game soundtracking in general? ![]() All of them bring different perspectives. Movies are linear, games are more interactive, theatre is more alive. There is also a different connection with each medium. It’s really important to find the right emotion and the right atmosphere for the scene, rather than creating a strong piece, chord progression or motive. With media work, you have to be very mindful of the space the music is talking to, not to overwhelm the image. Often, the result is more focused on music and its qualities, and it’s more intense in general. In a way, with every song, I try to answer the question, ‘Who am I?.’ I focus on emotions which are most familiar to me. Making my own music is really self explorative. They are all different, they stress different aspects of music. You’ve worked on normal LPs and EPs, but also on music for movies, theatre, as well as video games. Instead of playing a computer game I’m interested in, I rather check out some YouTube footage, just to find out what the concept and feel of game is. I’d rather go out to, for example, play floorball. ![]() ![]() I often sit in front of my computer all day, locked in the studio, so I try to avoid similar activities when I’m free. Of course, the main reason is my lack of time. So generally media, especially interactive media, are my point of interest. Despite making mostly music, I actually studied New Media at the Prague Academy Of Visual Arts. I’ve been doing some form of creative stuff all my life. Especially in recent years, with the emergence of the indie scene, it’s become a spectacular playground for wonderful ideas. I wouldn’t say it’s my main focus, however, it is a really exciting media field. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackĪre you interested in video games in general, or is it more of a musical interest? For Samorost 3, Floex crafted a soundtrack as explorative and ambitious as the game itself.ĭvořák spoke to us about the process of scoring Samorost 3 and his plans for the future. For instance, on opening track “Samorost 3 Main Theme”, organic textures and clarinet melodies are replaced by epic orchestral strings, which then in turn complement techno-resembling grooves. It’s not unusual that a single track will express different moods and incorporate various instruments. While Machinarium is an industrial game that required vintage electronic music, the Samorost series is built around adventurous exploration, and posed a different kind of challenge to Floex.įor Samorost 3, his latest work, Dvořák composed an atmospheric soundtrack of light electronic grooves that bring his classical background to the fore. These soundtracks are gorgeous and as adventurous as the games themselves, which have most recently received praise from the likes of The Washington Post or PC Gamer. It’s his soundtracks for successful indie adventure/puzzle games Samorost 2 and 3, and Machinarium, which contain his best work yet. While he’s released a bulk of full-length albums and EPs over the past 15 years, he’s also created several soundtracks for movies, theatre productions and video games. Tomáš Dvořák-better known as Floex-is a Czech clarinetist, composer and producer, known for making music for a variety of media.
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