01. UTOPIA OVERTURE

02. THE NETWORK

03. DISLOCATED THUMBS part 1

04. MR. RABBIT’S GAME

05. CONSPIRACY part 1

06. MEDITATIVE CHAOS

07. A NEW BRAND OF DRUG

08. SAMBA DE WILSON

09. SLIVOVITZ

10. BEKKI ON PILLS part 1

11. WHERE IS JESSICA HYDE? part 1

12. ARBY’S ORATORIO

13. JESSICA GETS OFF

14. MR. RABBIT IT IS

15. LOVECHILD

16. MIND VORTEX

17. T**T

18. BEKKI ON PILLS part 2

19. FERTILITY CONTROL

20. JANUS SAVES

21. EVIL PREVAILS

22. CONSPIRACY part 2

23. DISLOCATED THUMBS part 2

24. UTOPIA DESCENT

25. WHERE IS JESSICA HYDE? part 2

26. UTOPIA’S DEATH CARGO

27. THE EXPERIMENT

28. UTOPIA FINALE

Lee

• online

Arby

• online

Wilson_Wilson

• online

Wilson_Wilson

• offline

Can you still speak?Wilson?I got sand now Wilson.

Where is Jessica Hyde?

I don’t know who that is.I have no idea.

Arghh........

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U T O P I A : F O R U M F E E D

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

I first worked with Cristo at his studio in Montreal on the BBCTV adaptation of Michel Faber’s The Crimson Petal and the White, schlepping there from London in their mid-Winter freeze for 24 hours at a time. This time I wanted him to come to London but I was worried about what facilities he’d need. Did he want a studio? What instruments would he like? Could I put him in touch with musicians who he might like to collaborate with? Cristo was blithely unconcerned. He arrived at Heathrow with a laptop and a small box containing a dried rhino turd and a human femur. He recorded the whole soundtrack on his laptop. Apparently the acoustic properties of the rhino turd are unsurpassed.

I had sent Cristo the scripts very early on before we started filming. We Skyped. “Hey man, I love it. I already written the soundtrack in my head”. Back came a whole album fully-formed. There was whistling, spoken word, dance tracks, and impenetrable experiments. It was glorious. But when we started cutting the episodes, because the music was so complete in itself, we could never make it work - it either dominated or it got lost. By that time, however, Cristo had seen the rushes and had new ideas.

The model for the tone of UTOPIA was the early films of Polanski in particular Cul de Sac with its grotesque comedy underpinned by dark menace and so Krystof Komeda’s theme music, its cheesey organ whirring away, half Bontempi, half hurdy-gurdy, seemed a good

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

jumping off point. From there, Cristo and I listened to Stock, Hausen and Walkmans’ deliriously happy Organ Transplants and recordings on the Ghost Box label with their return to 60s electronica and their warped arcadian world. I had developed a film for the BBC about the last days of the legendary Delia Derbyshire of the Radiophonic Workshop and her experiments were fresh in my mind. But we also loved Eric Rogers exuberant orchestral scores for the Carry On films with their camp crude brass sounds and woodwind. And then there were drones. During the filming of The Crimson Petal, every night on the drive back from location, I listened to electronic drones, torturing my assistant with questions about their relative merits. After listening to 200 or so, I gave Cristo the best 6 or 7 and he started to create his own - much richer, weirder and more disturbing than those library drones because they were musical too, they developed in a way a score might and they demanded the attention of the audience.

The joy of working with Cristo is that music just pours out of him. His genius is that he never judges it - he just creates and re-creates. So giving him a note about a particular cue can turn it into an entirely different piece of music. Cues get lost, discarded and more come into existence, so the score is continually mutating. What is constant are the ghosts of his ideas hiding in the layers of the score. Sometimes these are obscured by the rest of the mix: sound effects, dialogue etc. which is why it is such a thrill to hear them uncovered and out in the open on this CD. Cristo uncovered. Hear everything.

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THIS PDF HAS BEEN ENCRYPTED BY THE NETWORK

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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

In September of 2012, armed with a laptop, a microphone, and a bag of tricks, I moved to London for an intensive 6 months of guerilla composition. 

Fortuitous field recordings backed with  deep sound manglings and twists  became the core for Utopia’s orchestrations.

From a rare Chilean Trutruka recorded in the dark echo of the Borough Tube station, to the distinctive sound of human bones used as whistles, or from the raw percussiveness of a Rhino turd from Zimbabwe caught in the corridors of an alarmed building in posh South Kensington, to the inadvertently recorded voice of director Alex Garcia Lopez turned into primal howls, it was more about catching spirits on tape than organizing notes; an approach that helped articulate the mad complexity of Utopia’s characters and abstract yet emotional situations.

Cristobal Tapia De Veer

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All tracks written, performed, produced, engineered and mixed by: Cristobal Tapia de Veer

All voices by Kim Neundorf

Additional voices on tracks 19 & 28 by: Alex Garcia Lopez, courtesy of Chorizo Publishing

Mastered by: Stephen Marsh at Marsh Mastering, Hollywood, Ca

Free Run Artists Prod. & Mgmt.: Kim Neundorf

C R E D I T S & C O M P O S E R ’ S A C K N O W L E D G E M E N T S

THANK YOU

Very special thanks to director Marc Munden for his authenticity, vision and cojones / Kim Neundorf for the beautiful voice, patience and perspective / my family / Christine & Mo (you’re the coolest) / Christian Morin / Mandela & Natalie Portman; a huge thanks to Karen Wilson and everyone at Kudos / Bekki Wray-Rogers / Danny Layton / Alex Garcia Lopez / Wayne Che Yip / David Stoner; cheers Richard Davey at Jumbuck Studio / Luke Dunkley / David Charap

s tarr ing ADEEL AKHTAR, JAMES FOX, PAUL HIGGINS, GERALDINE JAMES, NEIL MASKELL, FIONA O’ SHAUGHNESSY,

STEPHEN REA, ALEXANDRA ROACH, NATHAN STEWART-JARRETT and int roducing OLIVER WOOLLFORD and EMILIA JONES

execut ive producers KAREN WILSON, JANE FEATHERSTONE and DENNIS KELLY director episodes 1,2 & 3 MARC MUNDEN directors episodes 4,5 & 6 WAYNE CHE YIP

and ALEX GARCIA LOPEZ producer REBEKAH WRAY-ROGERS wri t ten & created by DENNIS KELLY

All tracks: Kudos Film & Television Ltd. (administered by EMI Music Publishing).Ⓟ 2013 Kudos Film & Television Ltd.

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.

For Shine 360° on behalf of Kudos: Release compiled by Danny Layton. Front cover design by Jodie King.

SILCD1437

Ⓟ 2013 Kudos Film and Television Ltd. © 2013 Kudos Film and Television Ltd.

Under exclusive licence to Silva Screen Records Ltd.

THEY WILL FIND YOU