Ah yes, very good this; as eclectic as you might expect from Felix Kubin. How come music for theatre/dance/film is frequently more interesting than that made for straight albums? Rhetorical question. Sound design for action elsewhere should tie down composers, yet liberates them. Think of Morricone's greatest work for 70s horror films. Think of other stuff, if you like. A visual scene dictates to the eye yet liberates the ear. I reckon.
Kubin covers all territories, from creaking orchestral tension on Wojna through Menuett I's jaunty harpsichord with drum machine to the breakbeat/down of Hexen and many stylistic points between. A real treat, the opening of which is akin to opening a box and a clown pops out on a spring...except clowns are evil nowadays, aren't they? And the box isn't a box, but more like a 19th century automaton, slightly disturbing and endlessly entertaining.
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