I am always surprised by the process of "trying to find right mood for the scene". For me what’s very important is the atmosphere of the scene. Is the story something that provides direction for your compositions, for instance in the making of Samorost 2? Out of these loops I had all this material, so I decided to make a CD soundtrack out of it. If they're too concrete, then it becomes boring or annoying after hearing them ten times. If you have these short loops, they have to be abstract. I was making small audio loops for the first game, maybe a maximum of one minute. How did you feel when embarking on Samorost 2, your first game project? The soundtrack has gone on to receive an award a lot of recognition.
The discussion offers a glimpse into the surreal and mysterious creations of Amanita Design, and more specifically, serves as a guide to the unedited six track soundtrack preview, which is freely available online. In this interview with the composer for the game, Floex tells about his background as a visual artist who has found his way into the world of music for films and games. The music too mirrors the duality of the art design, composed of elements both acoustic and synthetic, like an upright piano playing as a voice synthesizer belts out the melody of an old fashioned operetta. The environments are dusty, organic, analog. Machinarium is an adventure story surrounding a world of robots.
Previously he composed for Samorost 2 and used audio from the game in the creation of an award-winning original soundtrack album. Czech musician Tomas Dvorak, who also goes by Floex, is the composer of Amanita Design's new game, Machinarium.
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