Experimental soundtracks and lavish orchestras – TV never sounded so good by Phelim O’Neill, United Kingdom Posted on September 12, 2017May 3, 2019 “The ambitious scores of Game of Thrones, Utopia and new US drama The Knick are bringing a new dimension to music on TV…” Read the article here read more
Comicthriller in Comicfarben von Juliane Frisse (Bayerischer Rundfunk), Deutschland Posted on September 12, 2017May 3, 2019 “…Obendrein ist “Utopia” auch noch ästhetisch ganz groß: Visuell ein kinowürdiger, knallig-comichafter Farbrausch und dazu ein Sounddesign, dem man anmerkt, dass sich hier jemand von der Titelmusik bis hin zu jedem einzelnem Geräusch verdammt nochmal Gedanken gemacht hat. Kurz: Jeder, der sich auch nur einen Funken für Serien begeistern kann, muss “Utopia” anschauen.” Read the article […] read more
Pourquoi Utopia est LA série de l’année, par Yann Inho, France Posted on September 12, 2017November 3, 2021 “…Dès les premières minutes, on remarque le caractère unique, intense, et presque magique de la série. L’atmosphère dégagée par la réalisation sans faute, les couleurs très stylisées, et la musique exceptionnelle du talentueux Cristobal Tapia de Veer nous envoûtent…” Read the article here read more
SIEBEN SCIENCE-FICTION-SERIEN IM CHECK #1 Utopia von Gerhard Maier, Deutschland Posted on September 12, 2017May 3, 2019 “…„Utopia“ als „Akte X“ für Fortgeschrittene: Die Bösen sind kompetent, die Verschwörung überall und Jessica Hyde (links) gibt sich als Scully auf Crack.(…) Brillant in jeder Hinsicht. Kein Wunder, dass David Fincher bereits das US-Remake plant…” Read the article here read more
21st Century Discoveries: Utopia by C.J. Prince, www Posted on September 12, 2017May 3, 2019 “…What really cements the unsettling atmosphere of the show is Cristobal Tapia de Veer’s score. The composer was given free rein to come up with a sound for the program, and his results are completely off the wall. In an interview de Veer said he used human bones as instruments during his recording sessions because […] read more
Überkolorierte Schattenwelten von Daniel Schulz, Deutschland Posted on September 12, 2017May 3, 2019 “…Die Sonne bescheint ein überkoloriertes, unwirkliches Land. Mag das Tageslicht in anderen Welten Trost spenden, hier erhellt es eine grelle Kulisse, hinter der Finsteres geschieht. Garniert mit derbem bis abstrusem Humor und einem hypnotischen Soundtrack, präsentiert sich die Gesamtkomposition wie ein Mix aus der Thrillerserie “Homeland” und der halluzinogenen Kindermär “Alice im Wunderland”…” Read the article […] read more
Utopia, par blogseriestele.wordpress.com, France Posted on September 12, 2017November 3, 2021 “…Munden ne s’est pas contenté de cela. C’est lui qui a imposé Cristobal Tapia de Veer pour la bande son est le résultat sonore est aussi éblouissant que la performance visuelle. Originaire de Santiago, Cristobal est un compositeur de musique électronique toujours en recherche de sons peu communs (il a utilisé d’authentique os humains pour […] read more
Utopia: no creas la verdad por Alejandro Jofré, Chile Posted on September 12, 2017May 3, 2019 “…Punto para el amarillo Utopia, punto para el pulso firme de Arby y punto para la música del chileno Cristóbal Tapia de Veer que hace todavía más siniestro todo. La banda sonora es un lujo. La serie un imperdible…” Read the article here read more
THE BEST SOUNDTRACKS OF 2013 by MOJO staff, United Kingdom Posted on September 12, 2017May 3, 2019 From electro-psychedelic overload to tightly wound sex-club funk and existential Gallic jazz, we salute the top 10 soundtracks of the year. #4 UTOPIA OST – Cristobal Tapia de Veer Dennis Kelly’s apocalyptic conspiracy thriller was one of the TV highlights of early 2013 but if Kelly’s visceral mix of suspense, sex, horror and dark comedy […] read more
Scoring the period drama, free of context by Sam Edwards, United Kingdom Posted on September 12, 2017May 3, 2019 “Composer Cristobal Tapia de Veer has, thankfully, broken the mold entirely with his music for the BBC’s The Crimson Petal And The White… Abstract instrumentals with unintelligible vocal sounds – reminiscent of an avant-garde indie record – weave in and out of the episodes…. With Tapia de Veer’s music having contributed so much to the […] read more
SERIENGENIALITÄT „UTOPIA“ KOMMT ZU RTL CRIME von Christopher Büchele, Deutschland Posted on September 12, 2017May 3, 2019 “…wenn man uns persönlich nach unserem Serienhighlight 2013 fragen würde, so müssten wir Dennis Kellys beängstigend guten Sechstteiler an allererster Stelle nennen… Read the article here read more
Utopía: tres motivos por los que verla, España Posted on September 12, 2017November 3, 2021 “…La banda sonora de Utopia, compuesta por el chileno Cristobal Tapia De Veer, se sale de lo común en cuanto a estilo y a calidad: una vez la escuchas no puedes vivir sin ella. Es algo así como electrónica experimental, minimalista y con un deje latino donde el ritmo; sonidos orgánicos y voces rarunas completan […] read more
Domingo de serie Utopia por Omar Little, España Posted on September 12, 2017November 3, 2021 “…Un plano técnico privilegiado que se contagia en la faceta musical, con el gran trabajo de Cristobal Tapia de Veer y que termina por apuntillarse con una realización impecable y una edición dinámica, atrevida y fresca. Creando con la unión de estos elementos un estilo propio, identificable, llamativo y estilizado, pero efectivo, y acorde con […] read more
UTOPIA 2 OST, 5/5*, album review by Rob Smedley, United Kingdom Posted on September 12, 2017May 3, 2019 “…No kidding, no messing, and no need to reach for the spoon in order to tell the truth: Cristobal Tapia de Veer’s score for Utopia 2 really is the best TV soundtrack of the year…” Read the full article here read more
The Crimson Petal and the White: episode four – season finale by Sarah Dempster, United Kingdom Posted on September 12, 2017May 3, 2019 “…There was the woozy, gauzy, brilliantly claustrophobic atmosphere – the product of Cristobal Tapia de Veer’s score and Marc Munden’s exceptional, stylish, unselfconscious direction. This was an adult drama in every sense, and as complex and rewarding as anything the BBC has produced. In a nutshell: core…” Read the article here read more
Monday Morning Playlist: Soundtrackers Cristobal Tapia de Veer by David W. Valentin, United States Posted on September 12, 2017May 3, 2019 “…He’s been a longtime favorite for us at AE35 Media. His combination of sound design elements and percussion always make for a moody backdrop that remains compulsively listenable. All of these songs are the ones he contributed to the album “A Future Darkly,” and can be heard on Spotify. To get a sample of his […] read more
Utopía por Juan Sangrós, España Posted on September 12, 2017November 3, 2021 “…El complemento perfecto para una serie extraña sobre un mundo extraño es una banda sonora extraña. Y decir esto es quedarse corto. En la búsqueda por generar una sensación de desconcierto, de situarnos empáticamente con unos protagonistas cuyo paradigma acaba de ser demolido hasta los cimientos, la música es un vehículo fundamental que no puede […] read more
Série Noire, ça finit lundi par Hugo Dumas, Canada Posted on September 12, 2017May 3, 2019 “…Mes meilleurs moments de Série noire? Le pH «fucké» de Léa (Caroline Bouchard), (…), les nombreuses références cinématographiques (merci pour Halloween de John Carpenter), la musique originale de Cristobal Tapia de Veer et la trame sonore béton…” Read the article here read more
‘Humans’ doubles down on Synths, interview by Mike Ayers, U.S. Posted on September 12, 2017May 3, 2019 “…For “Humans,” the overarching goal is to make the music askew the stereotypical cold, sci-fi sounds usually associated with the genre… The music often creates an eerie ambiance for the human-to-human and human-to-synth interactions.Tapia de Veer’s compositions aim to tap into that aspect of the story. “I don’t really know what to call the sound […] read more
The Crimson Petal and the White, final episode, review by Benji Wilson, United Kingdom Posted on September 12, 2017May 3, 2019 “…the composer, Cristobal Tapia de Veer, set out to subvert – he welded the squelchings and rumblings of modern electronica to a tableau from the 1870s in the way that Radiohead’s Jonny Greenwood did in his score for There Will Be Blood…” Read the article here read more