01 B R A I NWAV E P L AYG RO U N D

02 PRO M I S ED L A N D U TO P I A

03 LU C I D I T Y G O N E

0 4 L I FE O U T O F BA L A N C E

05 SATA N ’S WA LT Z ( M ETA M O R P H O S I S STAG E 1)

0 6 BA M B I N O I L LU M I N AT U S

07 BA M B I N O C R I M I N A L E

0 8 OV ER T H E R A I N BOW

0 9 A N A N SW ER

10 V DAY BA BY

11 T H E M OA N I N G PY R A M I D

12 M I N D S P L I T T I N G L A B ( M ETA M O R P H O S I S STAG E 2 )

13 I FEE L S EPA R AT ED

14 FAS C I N AT I N G C H I L D

15 8 - B I T T R AU M A

16 T H E M O N A RC H ’S PY R A M I D

17 TO YO U A L L K I DS W I L L CO M E… ( M ETA M O R P H O S I S CO M P LETE )

You’d have thought that making the second season of a successful cult series would be easier than making the first. Whereas the first time, everyone who worked on the show was trying to work out what the show was, the second time around everyone thought they knew what it was. The most common phrase I heard was “we tried that, but we didn’t think it was Utopia-enough”.

So everyone was trying to go further, do better, trying not to do what they did last time. And having nervous breakdowns in the process. There was a time during production when I thought that we really didn’t have a show and Cristo said “man, you’ve just got to disappear into the abyss - and then come back with answers”. Last series Cristo turned up at Heathrow with hand baggage -

a dried rhino turd, a human femur and a handful of samples. This time he turned up with three tonnes of outmoded synthesisers in flight cases. “We’re doing the first episode in the 70s, man. We’re throwing everything out. We got to go analogue”. So, analogue it was. Holed up in a suburban garage in Crouch End, he surrounded himself with steaming heaps of valve-operated machinery. With the synths working at full tilt, Cristo’s first cues were like the Utopia soundtrack played by Deep Purple or Emerson, Lake and Palmer - loud, gothic and bombastic. It was all too much, all too in-your-face and he knew it - it seemed to endorse and underscore the darkness and violence rather than undermine or counter it. Even the few soundbanks that Cristo

M A R C M U N D E N D I R E C T O R ’ S N O T E S

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was using were monstrous. There was the St Anne’s Moseley church organ that belied the elegance of the Victorian church that contained it. Every time we sparked up that organ we imagined the good parishioners of that polite suburb shuffling into their quintessentially English church at Cristo’s behest, slavishly setting up their dangerously powerful instrument to be manipulated, shocked and abused by the demon Cristo. Appropriately, for the first series, we had listened to Broadcast’s soundtrack to Berberian Sound Studio about a foley artist being consumed by the dark hallucinatory world of the horror film he’s working on. We had gone on to listen to more vocal music - a cappella by The Freedom Singers and The Persuasions, and Scott Walker’s glorious baritone that we used

as temp score for Episode 1.

Cristo brought with him Isao Tomita’s barmy interpretations of Debussy and Mussorgsky all played on analogue synths which was both derided and celebrated when it was first released in the 70s but full of raw and sometimes vulgar beauty. Also Bach’s Goldberg Variations which according to Cristo: “organizes your head in an incredibly fluid train of thought, whether you’re building a boat in a bottle or cutting bodies into pieces”. But it was a beautiful Ennio Morricone tune: “Ninna Nanna per Adulteri” from the 1969 movie Cuoredi Mamma that somehow crystallised the mood of where we should go: children’s voices and a kind of innocence. Gradually, Cristo came back with answers. He recorded more vocals

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and kept the essence of the 70s without its bombast. He went back to the first series and drew bits out, rewriting the cues with his present instrumentation, bringing in the wit and lightness that he had before. Typically, he went further - he invented a bizarre 1970s Italian pop music for Episode 1, drew on his classical training to write some string pieces for Episode 3 which I still can’t quite understand but excite me beyond belief and wrote a completely different Utopia theme tune for every single episode. It’s all here and somehow it is Utopia-enough.

Marc MundenAugust 2014

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C R I S T O B A L T A P I A D E V E E R C O M P O S E R ’ S N O T E S

music and subject. Figuring out how and what’s to celebrate became a surrealistic exercise in understanding humanity’s puppet status: whether it’s the C.I.A., Jesus or Mommy, somebody is pulling the strings...

Managing to stay alive while looking for answers in the dark

places of the earth might be reason enough to celebrate.

And celebrate we did, around feasts of strong ale and Christ’s ears (that’s just deep fried pork, don’t let your imagination run wild...)

Cristobal Tapia de Veer October 2014

Utopia #2, day one, Director Marc Munden greeted me with the promise of stylish mayhem to come. Not for the faint-hearted.

And so I was reminded of William Friedkin’s good old production, “The Exorcist”, with its permanently injured actors, 9 deaths, a set destroyed by fire and so on... Most classic films have involved a great deal of abuse, and that screams transcendence to me. I knew I could count on Britain’s dirtiest director to make this a great adventure. He didn’t disappoint!

In fact, pushy directors reaching for the impossible and mighty actors risking their health in order to get in character, to the point of modifying their bodies, have always inspired me.

Utopia #2 meant diving deeper into

the vast ocean of conspiracy, with a focus on mind control, spiced up with occultism.

A scene from Episode 1 defined the whole concept of the music: Philip Carvel being held in a mental hospital, the light that seems to emanate from his head with infinite chaotic power, it’s all there, that became THE sound... At some point I realized I was writing everything from Carvel’s perspective, that deep illumination which allows him to bend the forces of nature, meanwhile separating him from the world. His Herculean battle has a sound which is as tremendous as it is delicate. That sound colours everything that follows, it’s a bed for Wilson Wilson’s transformation...

“This is a Celebration” Marc Munden said to me. This is key to the disrupting relationship between

TH RAXIN

Eternally grateful to Kim Neundorf & Marc Munden for helping making this music happen.

A million Thanks to: Sam Donovan, Danny Layton,

Bekki Wray-Rogers, Karen Wilson, David Stoner, Anna Harvey, Luke Dunkley,

Ben Lester, Simon Smith, Jane Featherstone, Richard Davey; to Jorge Baradit & “LLUSCUMA”,

Christine & Mo, Jorge y Elsa, Iris Nowa, Christian Morin, Wilmurray and Mandeloni.

C R E D I T S

All tracks written, performed, programmed, produced, engineered and mixed by:

Cristobal Tapia de Veer

Also in the mix: Kim Neundorf: all voices; Jorge Baradit: additional voices

& medical surgical noises track 12; Marc Munden: sigh in track 12;

Alex Garcia Lopez: additional voices track 17; Crocs: additional mumbling in track 17

Mastered by: Brian Lucey at Magic Garden Mastering, Los Angeles, CA

Free Run Artists Prod. & Mgmt.

Music Supervisor: Danny Layton, Shine Group on behalf of Kudos

Executive producers for Silva Screen Records Ltd: Reynold D’Silva and David Stoner

Release co-ordination by: Pete Compton Artwork and design by: Stuart Ford

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Ⓟ 2014 Kudos Film & Television Limited. © 2014 Kudos Film & Television Limited. Under exclusive licence to Silva Screen Records Ltd.