![]() ![]() I can only imagine - as I don’t even own a current-generation video-game console because, you know, I have a lot of TV watching to do - what Machinarium is like to play (perhaps a Sim City-style environment for robots?), because listening to its audio progressions is engrossing, if not all-encompassing. What’s more, at its best moments, it spirals even higher into the stratosphere like a good, solid Warp-sponsored outing or a mechanized reverse-doppelganger to Gorillaz recordings and old-hat trip-hop acts like Tricky, the main difference being that Dvořák’s selections work best when the beatz are minimal when he brings a banger, it often distracts from, nay degrades, the true strength of the compositions (mood, melody, savvy via digital-effects). ![]() After years of being relatively chilled by movie soundtracks peddled as full-length albums - anyone remember Zidane? - I’ve come to view the medium as ample enough on its own (by dint of the Fantastic Planet, Once Upon a Time in America, and Brown Bunny scores, among many others), as important to underground/above-ground listeners as proper albums and, occasionally, even more important.īut what about video game soundtracks? In this case, I’d say it’s a big 10-4: Machinarium, by Tomáš Dvořák (now in a third pressing of 500 circa the Czech Republic’s Minority Records), far from representing an assortment of overly subtle sounds meant only as a background accompaniment, reaches the same heights you’d expect from a traditional full-length recording.
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