https://merch.amanita-design.net/products/samorost-2-soundtrack-by-floex-double-vinyl
The work of Amanita Design often features somewhere in my end-of-year lists, such is the quality of their releases, and this soundtrack from Samorost 2 is no different in terms of the quality and talent that it brings to the (turn)table.
Limited to 500 copies, this soundtrack was composed by Tomas Dvorak (Floex) who I’m familiar with from his previous work with Amanita Design such as through the fantastic Machinarium soundtrack (https://www.gamesfreezer.co.uk/2021/09/machinarium-vinyl-soundtrack-review.html) as well as the clarinet that he provided for Creaks – a soundtrack handled by Joe Acheson under the guise of Hidden Orchestra.
Whilst Samorost 2 was written prior to Machinarium, Dvorak’s singularly idiosyncratic approach can be felt in full force here, as electronica and extremely clever use of percussion blend with natural sounds that lead not just to moments that can raise goosebumps one minute and endorphins the next, but also to one of my favourite moments of any album, more on that later.
The Samorost 2 soundtrack comes in a single gatefold sleeve on 180g vinyl encased in an anti-static sleeve (good). The cover is quite expressionistic in design and features two main characters from the game in the centre surrounded by places and environments from Samorost 2.
The effects of the artwork are quite strong as it feels like a blend of cosmic constellations, underwater scenes, dreamscapes and even a splash of graffiti whilst also remaining minimal in approach. This style continues throughout the main double-page spread and also on to the back cover, where the tracklist (and lengths) are listed as well as the credits.
The album consists of 12 tracks - 7 on the first disc and 5 on the second – clocking in at pretty much exactly 40 minutes. The record itself sports a white marble effect and has further scenes reminiscent of the cover art on the inner circle stickers.
Side A:
Smekoun (5:14)
The album opens with a keening synth, breathy flute, and light, tinkling percussion. Moving in waves back and forth, wind howls and whips until cymbal washes introduce a wheezing sound that plays in tandem with clattering percussion along a war-like tom beat. The whole scene plays to the ears like a wonderfully dorky and quirky marching band, more comedic than threatening. Lightly plucked strings join in, alongside swooping, muted trumpet, all locked around a three-note floor-tom beat. It’s a gloriously ramshackle vibe that brings a smile to the face.
Samorost intro (2:39)
As the wind from the previous track fades out, bubbly bass notes, more homespun percussion, squelchy synth and jovial strings take over. It has a cheeky energy and brings a brightness to the album, the mixing and mastering on the percussion is especially notable here, as it feels like it’s in the room with you, such a rich, organic texture. Beautiful.
Samorost Outro (1:04)
A short track that continues from the intro and has the same style of high, bouncy bass, tasty, rattling percussion as well as clarinet parts that all slowly slow down and collapse in almost comedic fashion…
Sopouch (2:20)
…that lead suddenly into a more ambient track that features ominous piano, echoing, dark room sounds and shimmering unease. When I first listened to the album, I did NOT expect this shift, but it absolutely works, it almost feels Resident-Evil-like in some moments of the piano playing.
Podzemi (3:45)
This track was an early favourite and put me in the mind of Yann Latour’s ENCODYA in how it – at the start, at least – eschews beats for pure mood, a very thoughtful opening eventually gives way to distant controlled guitar feedback and more chittering, insect-like percussion. The drums here are the stars, that richness of sound coming through and the wheezing instrumentation from the opening track keeping a rhythm as various other rhythms intertwine. An absolutely marvellous percussion-led part of the album that leads to one of my favourite moments (as mentioned above).
Kapky (2:20)
As the previous song fades out and sonar-like echoes and dripping water seem like a coda, it soon dawns on your ears that these seemingly ambient unrelated sounds; sonar, water dripping in different pitches, a bird call, an animal….they all move slowly together to form a kind of naturalistic, bucolic, night-time beatbox. It’s really, really impressive and quietly beautiful.
Budoar (3:35)
A shift away from the almost pure trip-hoppy environment of Kapky, Budoar beings in upright bass, low clarinet, and jaunty plucked strings. There’s another key moment in this track for me where the bass slowly shifts into a squelchy synth as reverb-laden ambience pierces the veil of the background, a hell of a way to end the first side of the record. It’s for moment-to-moment, idiosyncratic gold such as this that I keep returning to Dvorak’s albums and always look forward to his releases.
Side B:
Planina (3:24)
Another gently soaring, celestial-sounding intro soon leads to mournful clarinet overlaid with a second playing in a higher register. These drop back for more echoing guitar feedback to act as the palette for clean, punchy bass and marimba to chime. It is a delicate track that evokes the sense that it is evening, the world is fragile and yet full of wonder.
Jesevec (2:45)
Distorted wah-guitar, muted ambient work and a breathy clarinet kick this off, cymbals herald a clarinet trying to break through the thick mood and layers but ends up acting as part of the quiet wave, almost a companion piece to the prior track, Planina.
Lesik (5:15)
The single, ringing strum of a harp shimmers over a restrained bass-driven backbeat, as animalistic sounds create a soundscape, like a late-night trip-hop party behind a wall. It holds this groove for a while before a kalimba-esque sound begins plucking out a groove over the top, with marimba joining in. This is a track that feels like a silent wine party in a glass palace in the thick of a jungle at night, that bass-riff never falters, keeping a heavy and yet subtly restrained mood. I do like this track a lot, it puts you in a very specific headspace - again, kudos to the mastering engineer for bringing this one to life.
Tuleni (6:04)
In what now feels like a natural progression from Lesik, the once-restrained backbeat is given space and this stoned, trip-hop track can initially seem out of leftfield upon first listen, but now feels intrinsic to the flow of the album. The groovy drum and bass-led beat drive forwards until they are joined by a quickly descending vocal performance that could be taken straight out of an early Massive Attack track – as could this whole song, come to think of it - a clear favourite and a real highlight. This would be the song to put on after coming back from a night out for a final, quiet and contemplative drink. It’s a track that makes you feel cool and does so effortlessly and with style.
Samorost Outro II (1:34)
The final track of the second side reminds me of the best parts of Pixeljunk Monsters, all bustling business, clear, bright melodies, and bubbly bass. This comes in almost feeling a natural part of Tuleni and, whilst brief – acts as the perfect end to the album.
As a fan of Tomas Dvorak’s other work, I was very excited to listen to Samorost 2, and the beautiful pressing, stylish design (thanks to Eva Markova) and overall quality in both the physical record as well as the compositions and musicianship means that this is another record that will never be far from my reach.
It covers a lot of ground and yet always has that sense of purpose and cohesion that makes it such a rewarding listen. Matous Godik’s mastering really makes this feel like the music is being played in the room with you, with certain instruments especially having a crystal and almost surreal clarity.
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