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TITTELBACH.TV | ON ‚TATORT – RISIKEN UND NEBENWIRKUNGEN‘

“Gelungen dagegen ist der durchgehende elektronische Sound, der die kühle Erzählung um den Pharmafall kongenial ergänzt. Nach etwa einer Stunde dreht Vaid den Ton tiefer und fügt ein Zittern hinzu.”

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> listen+watch [Evidence]
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VARIETY | JD LINVILLE | ON ‘OSTROV’

“Marcel Vaid broke down a piano and started making strange sounds with some strange devices. It was like a shamanic ritual.”

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> listen+watch [Opening Sequence]
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JURY FESTIVAL DE CANNES | ON ‘CHRIS THE SWISS’
“Award-winning composer Marcel Vaid has created an intensely strong score to Anja Kofmel’s extraordinary story ‘Chris the Swiss’.”
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> listen+watch [The Attack]
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SÜDDEUTSCHE ZEITUNG | ANETTE SCHEFFEL | ON ‘GOODNIGHT NOBODY’
“The physical state of sleeplessness – the feeling as if the nerve fibres were located outside the skin – are being perceived through the buzzing, throbbing sounds of Marcel Vaid’s film music.”
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> listen+watch [Main Theme]
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