. . . The strength of this score lies in the atmosphere it sets. "Taboo" is textural greatness, a fabric woven of dark shades and thick strings . . . "Taboo" is a dark and strange TV show and Max Richter's music reflects that; a composer as imaginative as him had a field day creating a soundscape that evokes both danger and fatality . . . [the score is clean, minimalistic and] it shows Max Richter on top of his game.
"A Lamenting Song" is a stunning moment of reflection . . . Tender and evocative, the delicate piano piece makes for a truly immersive yet tantalisingly fleeting two-minutes . . .
. . . ["Taboo" is] a startlingly contemporary and claustrophobically gripping score . . . [all three compositions for film] are tied together by Richter's instinctive genius for cinematic augmentation . . . [Richter's knack for melodic depth and beauty] allows these soundtracks to stand very much alone as towering, hugely satisfying works.
. . . "Taboo" incorporates a swath of sounds and genres, but most importantly, it plays with mood . . . Max Richter reveals to listeners what film music supervisors have known for over a decade: this is a composer with a terrific sense of sonic style and narrative.
. . . ["Taboo"] features a more dramatic use of strings and keyboards conveying a sinister mood on "The Inexorable Advance of Mr. Delaney" and "Shadows" . . . "Zilpha Alone" is the most resonant track, a haunting, descending melody played entirely on strings . . .
. . . a dark and destabilising mix of haunted walthes, menacing Ligeti drones, angelic choirs and minimalist orchestral laments.