With music like this, who wouldn’t fall in love with a crew like this ? (DMF)
Finale dva botanicula soundtrack full#
It’s worth to remember that DVA was invited once to play live on legendary WFMU, and that tracks like “Buena Vista Chuchel Club” and “Nino Chuchel” make the case for unbridled, child-like passion turned into a musicality so full of joy it’s impossible not to listen and smile. Don’t worry, it’s not one of those forgettable ‘parody’ albums – it’s outsider music at its best, full of weird counter-intuitive twists and turns that are nevertheless brilliant, unhinged from any sort of traditional rationality of how this sort of music should be like. It’s full of parody styles pointed out by the names of the tracks, like the happy-sad electropop of “CHVCHLS” or the silly trip hop of “CHUCHLMN ft. The OST itself is part of a game, as if it was a radio/podcast set by the titular character and his little rat-armadillo-something-like friend Kekel. They brought their utopian, naïve folklore to the context of a game that’s meant to be like watching a (particularly strange) kids’ cartoon about a ball of fur whose sole desire is to eat a cherry, of which he is continually deprived by a mean, omniscient hand. Ĭzech band DVA return to videogame music after their impressive work on Botanicula (2012) – and what a return it is. (David Murrieta Flores)Īvailability: Streaming and digital purchase here. An overall meditative, slow-burning success for the first half of the year.
That’s why it’s an apt mixture of late post-rock techniques dominated overall by the retro-futuristic psych moodiness of bands like Zombi, underlined by the quiet, almost whispering harmonics produced by melodic clashes like those of Esmerine, as in “The Wasteland”. The tone is low-key hopeful, fully in the knowledge that your enemy is destiny, and that your defiance is but another name for failure. String melodies and harmonics wash away in electric guitar delay, with tracks like “Pinnacle Robotics” sounding like a dramatic version of a Maserati track. It is the sound of our ruins, which in its avoidance of straightforward electronic elements paints an altogether different and memorable soundscape than most other games with a similar theme. Under this premise, Ben Prunty has crafted a slow, engaging soundtrack made mostly with acoustic and electric instruments. The below are presented in alphabetical order.Ī soundtrack that is not only for a tragic end of the world, but its eternal return. We at *Press A* are impressed by what’s already been released in 2018, and can only imagine what we’ll be treated to next the busy season is still to come! Our top picks for the first half of 2018 showcase examples from right across the spectrum – and all are available to stream and/or purchase at least digitally through official channels.
It’s encouraging to see the ambition for videogame soundtracks continue to grow from both ends of the development spectrum, from AAA developers such as Ubisoft to indie studios seeking out talented and flexible composers. That’s not even mentioning Joe Hisaishi, of Studio Ghibli fame, coming back to compose his second game OST – a triumph in and of itself.
Not only have the big industry releases come with surprisingly daring selections (Hammock for one disc of Far Cry 5, for example), but the indie scene has also visibly grown, showcasing an enormous range of composers working in myriad styles. This year has already been an eye-catching one for videogame music at large.